Hello, and welcome to The Studio Demands It, an exercise in creative thinking where we will challenge ourselves to conceptualize, pitch, and craft a film based on the stipulations of a hypothetical Hollywood overlord. We talk movies all the time. In particular yes. Yes. In particular, we complain about the choices made in the films we've seen that exist because, obviously, some soulless corporate hacks cobbled together a collection of boardroom mandated buzzwords and test audience approved action sequences and characters.
T.C.:And with more hubris than those shills, we know that we could do better even with the demands and restrictions that clearly must have been put on those poor bastards stuck in the position of writing these scripts. We will be your screenwriters for this episode. I am T. C. De Witt, and joining me as always is Jim.
T.C.:What is real anymore, Burzelic? Jim, what is real?
Jim:How's it going? Less and less. Less and less is real. We Which, you know, as a kid, I always thought was gonna be great. Right.
Jim:I thought if Less and Less was real, that would be better.
T.C.:Yeah. No.
Jim:And so far, it's not working out.
T.C.:We are we are recording our first episode. This episode is the first one we are doing via satellites, I guess.
Jim:Well, in so I guess in that regard, it's it's working out. I think this is for the first, what, minute has been pretty good. Yeah. I mean, right I live one minute at a time. Yeah.
Jim:Live I
T.C.:live a quarter minute at a time. Yeah. Oh, wow. That's real fast. That's what everybody that's what everybody's doing now because here we are in shelter in place Mhmm.
T.C.:Separated by many miles, and bringing you our our newest episode of The Studio Demands It right here. And it's it's it's gonna be nice to have the episodes leading up to this as sort of a time capsule of the weeks ticking by as things got crazier and crazier. So, like, what last episode, we were like, ah, we couldn't get burgers because Yeah. Only the burger only the chicken wing place was open. Boo hoo.
T.C.:And and now here we are, and we can't.
Jim:Oh god. We were like that, weren't we? Oh. So We're terrible humans.
T.C.:It was funny as there's a delay in the release, so people are gonna hear that in, like, serious quarantine thinking like, holy schmucks. Yeah.
Jim:Then Part of the problem. This episode will come out and and, like, it'll, like, it'll be way worse. Yeah. And we we'll think we'll think, oh, we're we're better now. We we we faced our our bad selves, and and we've made up for.
Jim:No. It'll it'll be even worse.
T.C.:It's just gonna get
Jim:worse. Oh my god. These guys mocking reality.
T.C.:Flatten the curve, people. I hope everybody's staying safe and sane. That's what I've been messaging. Anyone that I've been texting or videoing with, it's like, hey. I hope you're staying safe and sane because I know, I I spend a lot of time just isolated working on my computer for days at a time, but it's nice to have the option to leave.
T.C.:Mhmm. And I've been floating between basically just two places where I am safe. And other than that
Jim:Which well, which is more than most people.
T.C.:True. True. Right. Right. I understand.
T.C.:Been here. Just slowly plotting if you can get away with murder of your roommates at this point?
Jim:Yeah. Yeah. This is this is it must be now now I have a very good idea of, like, how hamsters feel. Now let's go look at this
T.C.:and look out this window.
Jim:I'm gonna I'm gonna sit in this corner of the wood the wood chips. No. No. I'm gonna go back by the bottle.
T.C.:Yeah. I would okay.
Jim:Now I'm gonna go by the food dish. Yeah. Yeah. Alright. Back to the bottle.
T.C.:Yeah. Yeah. It's it's been an interesting time. The I I did think of some silver lining stuff here. There's plenty of silver lining in all this, the way people are connecting with each other.
T.C.:I think people are learning to appreciate what they have and what they don't have. But I thought of something, and it is the complaints that we have had as our first world problems for many years now. There's just too many good TV shows that you can't keep up. Well, now's your chance. You can binge a whole season of a show, Just lickety splits, and you'll knock up.
T.C.:So now's your chance. Watch The Wire. Yeah. Now's your chance to watch finish Man of Man off.
Jim:Yeah. Oh, I'm I'm not gonna we're not gonna do that on on the air. On the air? Is that really what we are? I guess we're on the air.
Jim:While recording? Wilts record? Wilts?
Jim:I don't even know the
T.C.:It's whom,
Jim:Jim. Whom recording. Whom recording. Whom but I finished Mad Men, and I wanna talk about it. And we're gonna do that later when people can't hear
T.C.:Yes.
Jim:Because that's not for them.
T.C.:No. No. We're we're here we're here to to entertain them with with movies.
Jim:Here to talk to them about actual TV shows. We're here to talk to them about ones we make up.
T.C.:That's right. And I suppose that's a great segue into what we are doing here. So thank you everyone for for tuning in, liking, subscribing, sharing the reviews we've been getting on on Apple Podcasts. The the the demands continue to roll on in, so thank you for those. But let let's get to our demand for this episode.
T.C.:Our success, be it as it may be. Damn it. Be as it might be, why can't I what we decided last episode what that's supposed to be.
Jim:Be be as it may?
T.C.:Be as it may. Why didn't I change it? Oh my god. Let us let little bit about our success, be it as it may, as either podcast No. Be Be it.
Jim:No. No. Be it.
T.C.:Be as it may.
Jim:Be as it may.
T.C.:Be now I've said it too much, and it's lost all meaning. Purple. Yeah. Purple. Purple.
T.C.:Purple. Purple.
Jim:Good. Good. Good. Good. Good.
T.C.:Road. Okay. As either podcasters or screenwriters, has given us a lovely growing collection of demands from the studio literally from the studios literally all over the world. From the studios, are you the listeners who have submitted your requests over at studiodemandsit.com? You can send us your demand, any demand you'd like, movies, TV shows, whatever.
T.C.:And you also get to name your studio. So thank you all for everyone who's been submitting, and we've been having a blast with those. And what do we have today, Jim? As always, the listeners know before we do. Well Yes.
T.C.:Before you do, because I I pick it I pick it just before we go to air. So but this comes from Valiant Kilmer Studios who has submitted a couple to us and and pencil oh, shoot. What was Leah's company name?
Jim:I don't I don't know.
T.C.:Leah Crawford. They have they have made a damn demand a damn demand of us, Jim, and, what what that demand may be.
Jim:I really like Valiant Kilmer, and I kinda wish someone had made a Prince Valiant movie when Val Kilmer was younger starring him.
T.C.:At at the peak of his at the peak of his success. Yeah. Well, darn it.
Jim:Right? Like, I kid like, Iceman age.
T.C.:Oh, yeah. Yeah. Right right in right in
Jim:the Yeah.
Jim:Give him give him that that the Prince Valiant haircut. Yeah.
T.C.:The the Lord Fauntleroy of
Jim:Actually, it might it might have to be even earlier than that. Like
T.C.:Like, top secret? Yeah. Yeah. Like, right at the begin or, like, what was the what was the one where he the lasers, the popcorn, real genius.
Jim:No. No. Actually, Top Secret is is specifically what I'm thinking.
T.C.:Okay. So, like, the young, hip, and cool. Yeah. Which, by the way, having rewatched that about a year ago, Top Secret is holds up very, very well. The Zucker brothers knew how to make a parody.
T.C.:Let me tell you. That was before the disaster that is Freiberg and Seltzer who ruined parody films. Thank you very much. Oh my god. Garbage films.
T.C.:Now let's not make a garbage film, although
Jim:No. Let's not do that.
T.C.:Okay. So our our demands and remissions here are a bit limited. So previous episodes, we've pinpointed a year, or we we have our we have two types of episodes. We have the episodes where we remake or fix an existing film, and then we have hypothetical films that don't exist that we get to play with. And today, that's what we're getting to do.
T.C.:Jim, one of the most used characters in cinema, he's in the top 10. He might even be in the top five of characters that have been adapted to film and television and comic books and and the the the unlimited number of entertainment is a a fourteenth, fifteenth century character by the name of Robin Hood.
Jim:Oh, crap.
T.C.:Oh, yeah.
Jim:Oh, crap.
T.C.:And our our demand here what what what the demand is here from from Valiant Kilmer Studios, with some stipulations that I'll add in in a little bit, but basically, it comes down to is the question was positive, what's the best Robin Hood movie? And
Jim:Yeah. I was I was there for that. I was I was there for that. I was actually there for when that bomb exploded before it got onto Facebook.
T.C.:Well, I'm
Jim:People started
T.C.:I do wanna hear about that, but let me just lay out the lay out what we're doing here. So what we have to do is I think the stipulation I like the most that I wanna play with is, we're going to try to craft a Robin Hood film. What where do we do that, how we do that will will be determined. But I do like the idea that of Tessa Thompson being cast in the lead role, which which which leads to a conversation about is she a leading lady because she's been very good as a supporting character. And maybe she's not the right actress to go with.
T.C.:But the idea of a female Robin Hood, I don't think has been explored nearly as often as as the male Robin Hood that we've gotten an endless number of over the the many centuries of Robin Hood's existence. So Sure. The studio demands that we make a new Robin Hood movie and do what many have failed before us to try to do and craft a film that could be a box office success. So there we go, Jim. A Robin Hood film.
Jim:Robin Hood.
T.C.:We're doing this. We are doing this.
Jim:I You're doing this to me.
T.C.:I had a feeling that you were in the room for the the screening of of Robin Hood, Prince of Thieves. Yeah. Which led to the question that was I I I wanna hear a little backstory here. What was Sure. What was that conversation like in the room that led to it being posted on Facebook that led to this demand getting made?
Jim:It was it was literally just we were eating dinner, and we're what are we gonna watch while we eat dinner? And we're flipping through the the streaming services, trying to find something we could all agree on, and it it eventually started getting to some I don't cares. Oh, okay. And the person the person who had the controller came across Prince of Thieves, and he's like, we're watching this. And he was like, well, I right.
Jim:I I I already cashed in my I don't care. I can't go back on that.
T.C.:Right. Right. So I do care. Like, lord, help me.
Jim:I do care.
Jim:That's not entirely fair. Aside from my favorite favorite pick, I actually do like Prince of Thieves a whole lot.
T.C.:Mhmm.
Jim:I think for my so for myself, the one I said was best was Disney. Disney's Robin Hood Mhmm. Was the one I said was best.
T.C.:The the animated one, to be clear.
Jim:Yeah. After that, I I thought it was I do think it's Prince of Thieves. Okay. So I do think it's even even rewatching it, there are some not great like like, the accents are there's a lot of accents
T.C.:in that movie. All from one man.
Jim:No. No. Like, I mean, he actually at least attempts something like a British accent, but like Christian Slater
T.C.:Mhmm.
Jim:Has has his accent going on.
T.C.:Christian Slater. I'm gonna go down to Nottingham, man. That's what we're gonna do. Me and Morgan Freeman over here.
Jim:Michael McShane, he's in there. Basically, his his English and I at the time, right, he'd spent a lot of time there doing Whose Line Is It Anyway? Mhmm. But his friar Tuck was really just yelling The the the whole time.
T.C.:And has the last line and fourth wall break to end the movie, which is super hokey.
Jim:Yeah. Yeah. And, of
T.C.:course, the the great the great Alan Rickman. I think I think I know what the direction is for Alan Rickman. It was like, Alan, what do you wanna do with this character? I'd like to play it big. Okay.
T.C.:How big? As big as I possibly can. Alright. Play play to the back row, Alan, and action. Yeah.
Jim:That's basically what happened. Yes. Yeah. I actually I can't recall him playing bigger.
T.C.:That is just the the hammiest. Look. I I the I went to Facebook, and I saw the thread, and that's why I the where the demand ended up coming from for this episode. And the argument seemed to come down to three. I saw some Errol Flynn's, which is fair.
T.C.:That's fine. He's he is the classic Robin Hood for cinema, at least the old old world cinema. But it came down to three. Prince of Thieves, Men in Tights, and Disney's Robin Hood. My vote 100% is for the animated Disney Robin Hood.
T.C.:There are actual literary scholars who cite that as the best adaptation of Robin Hood. So I'm not alone. There is some credibility in saying that that does adapt the character very successfully. And Sure. Mennonites funny enough, because we were just talking about top secret, Mennonites is one of the finest it's an incredible parody film of Prince of Thieves.
T.C.:But much like the Godfather two, which is arguably better than Godfather one, would Mennonites be anything without Prince of Thieves?
Jim:It was it was not like, they did have Errol Flynn jokes in Men in Tights, but it was mostly a send up of Prince of Thieves.
T.C.:Right. So my though I think Prince sorry. I think Men in Tights is phenomenal. I think it's hilarious. I love I love the meta jokes, like the Blazing Saddles joke that Dave that Dave Chappelle gets where he's like, I'll be the sheriff.
T.C.:Hey. Worked in Blazing Saddles. Like, there's some great stuff in there. Yeah. But it couldn't exist without Prince of Thieves.
T.C.:So then, okay. Well, does that mean prince of thieves is a better film? No. Because now after watching men in tights, when you watch prince of thieves, prince of thieves is hilarious. Yeah.
T.C.:Yeah. But aside from those three and Errol Flynn getting thrown in there, I I think people forget how many attempts of Robinhood. Does even did anyone even remember that there was one that came out two years ago, not even two years ago, that started the Kingsman secret service, Terron Edgerton, and Jamie Foxx in an action packed Robin Hood bomb that that
Jim:did Yeah.
T.C.:There there
Jim:are people who who remember that. Leah had had jokingly said that one was the best one when we were first talking about it.
T.C.:My my favorite one that that did terribly was Ridley Scott's Russell Crowe Robin Hood, which originally, Russell Crowe was going to play Robin and the sheriff of Nottingham. Like, originally, the the plan for that film was he was gonna play both parts. The ego on this man.
Jim:Well, I mean, you could I think it would be a bit of a reimagining of Robin Hood, but I think the concept holds some water. Right? It's the notion of what is really the difference between the two.
T.C.:Sure. But not Russell Crowe doing that. I think it would take a much more capable actor. I think Russell Crowe's had a Murphy? Yeah.
T.C.:Yes. Exactly like Eddie Murphy. That's exactly who I was thinking that he could wear he could be friar tuck in a fat suit. He could be he could be little John, taller. And one of my favorite Robin Hoods was the BBC's Robin Hood, which came out in the early two thousands, and it was sort of a smallville esque sexy young Robin Hood.
T.C.:And they it's it's it's it's very and I say this, and we we have had a debate about this being not a good you shouldn't use this as an insult or a a description, but very CW style Robin Hood. Uh-huh. Even giving a even giving Maid Marian, like, a chic from Zelda kind of alter ego where she's a superhero, all clad in black and whatnot. And Okay. And and, yeah, and that show was it was three seasons on the BBC, and it's fun and hokey and over the top.
Jim:Is is that the one? Because I'm getting I'm getting several media mixed up now because I know there was also a point where was that show that was that was the show Sherwood. Right?
T.C.:Yeah. No. That's different. Sherwood was different. No.
Jim:Yep. Okay. Yep. So there you go. There's there's even another one.
Jim:So I'm I'm gonna give up now. I'm trying I I'm looking through that thread trying to find the full proper studio name.
T.C.:Oh, sure. I don't know if they It does. I don't know if they put the
Jim:No. No. It's it's not here.
T.C.:Okay. I grabbed the studio name from previous requests from this very studio.
Jim:That's that's what gotcha. Yeah. Okay.
T.C.:So where to where to begin here? I think Robin Hood is so ingrained into pop culture. People know him without knowing him. People like, Robin Hood was already a pop cultural touchstone that in the once and future king by T. H.
T.C.:White, the the Arthurian legend that was adapted into sword and stone Mhmm. Robin Hood's in there.
Jim:Oh, yeah?
T.C.:Arthur meets Robin Wood, and he's he's a notorious he's Robin Hood, but his his legend in the woods has given him the wrong name. But, like, it thirteenth, fourteenth century French superhero Robin Hood has been around so long that it's you'd be hard pressed not to find someone who who would know. I mean, hell, all my LEGO sets growing up were the Woodsman Oh, sure. Characters. Yep.
T.C.:So that being said, I think with a character like this or Sherlock Holmes or Superman, it's what are the essential elements that make the character and the lore, and how do you present that and not just be derivative, which has been the problem with with a lot of the the the movies, basically, since Prince of Thieves. I think Prince of Thieves was the pinnacle of blockbuster Hollywood Robin Hood. And from that point on, it was just, well, how do we make another Prince of Thieves? How do we get that how do we get that Robin Hood money?
Jim:Of. Right? The Russell Crowe one, was that Ridley Scott?
T.C.:Yes, yes.
Jim:That one was attempting to tell a more quote unquote realistic Robin Hood.
T.C.:Sure.
Jim:The newest one looked to me like it was trying to do Prince of Thieves, but modernized with like, with cool action sequences. Parkour. And yeah. Basically. Yeah.
Jim:Like like, what if Assassin's Creed was Prince of Thieves?
T.C.:Yeah. Assassin's But also
Jim:a movie. Yeah.
T.C.:So, yeah, it it it's actually not that bad of a movie as far as, like, a a a Saturday morning, Saturday afternoon action fluffy blockbuster. It's fine, but it was forgettable was the problem because
Jim:Prince Prince of the East?
T.C.:No. No. The most recent
Jim:Robin Hood. Oh.
T.C.:Yeah.
Jim:Yeah.
T.C.:Like, they didn't even put them in green. They put them in blue because they were worried people would be like, hey. You look like Stephen Amell's Arrow from from the Arrow version. Oh, jeez. So they put him in blue instead.
Jim:That's blue. Blue was not an easy color to come by. Sorry. I I did a bunch of studying on dyes on fabric dyes through through time, and blue was not
T.C.:Blue is especially in that era, blue is very hard to come by because blue doesn't turn up in nature very often.
Jim:Yeah. Well, there are there are some interesting ways to get it. But, yes, right, because that that's actually why.
T.C.:Oh, man. I gotta pull us back. We tangent so far off we fell off the track. I want that. Sure.
T.C.:I'm resetting there.
Jim:What what did you guys talk what did you guys tangent about then?
T.C.:In that
Jim:episode Ancient textiles.
T.C.:Yeah. The dyes and blues and the white was so like, only the wealthy had blue materials. Okay. What do we know about Robin Hood? Well, he steals from the rich and gives to the poor.
Jim:Great idea. Cool. The people love that. This movie's gonna be a hit.
T.C.:Well, here's
Jim:the Right?
T.C.:But, honestly, think about what I think, eat the rich has always been the edict of, like, every generation. It always swings around to, like, yuppies of the of the Gen X era or go back to the, like, the sixties and the Nixonian era. Eat the rich. Eat the rich. And, like and we are in We
Jim:keep not doing it. We need
T.C.:to need to eat them. I'm condoning cannibalism on this, and Jim does too.
Jim:I push I push I push the zombie theme enough. It should be obvious. That's my motivation.
T.C.:It's it's it's just, a suggestion, a a simple a what what is the term I'm looking for here?
Jim:It's I
Jim:mean, people really shouldn't be afraid. Their meat is going to be very supple.
T.C.:Oh god.
Jim:What'd you guys talk about after the ancient textiles? Eating people.
T.C.:The the one percenters, like, going after the one percenters and and and helping the 99 is, like Mhmm. It's ripe for that right now. If it ever more so every day, it seems. Yeah. That the the take down the the money, take down the the wealthy, steal from the rich, and give it to the poor who need it is Mhmm.
T.C.:Is very so then so then okay. So let's let's make a decision here. Do we wanna make a modern retelling of the Robin Hood lore, or do we want to go classic? I say modern because there's been so many classics. Sure.
T.C.:But, if you if you wanna make an argument for it.
Jim:Honestly, even even modern, like like, I I'm I'm still up in the air. I'm I'd I'd like to hear pitches for either because, yeah, it's it's it's a story that has been done.
T.C.:How about the Wild West? I know you like cowboys.
Jim:Alright. I'm in. I'm in.
T.C.:So instead of Robin Hood shooting shooting arrows, she's she's just firing off her six shooters. She can shoot a bullet and then shoot that bullet. Yeah. This gun shoots faster than this one.
Jim:That happened in something. Oh, I saw a thing where that where that is what happened.
T.C.:Oh my god. Yeah. I'm gonna shoot a bullet. I shoot a bullet in the air where it lands and oh, oh, I'm so sorry. I'm so sorry.
Jim:I think It might have just been it might have just been wanted. That that might be what I'm thinking.
T.C.:Yes. Put a quarter. You know what? I have things to say about wanted. Maybe someone should demand an episode of that.
T.C.:Words, anger. Okay. So I I would argue for a modern retelling. I'd so the studio has come to us and said, make us a Robin Hood movie and make us money on it. Put a female lead.
T.C.:Okay. Go. And that's there are some more demands on here that I can that I'll I'll I'll pick at, but that's essentially the demand we've been given. And
Jim:Okay.
T.C.:And I think the steal from the rich, give to the poor notion set in a in a modern setting is more likely to entertain than another classic leather clad arrow shoot in Robin Hood that has failed time and time again.
Jim:Is that is that the demand? Like, so what are we when you say a mod, like, modern version, do you mean just using the archetype? So is our Robin, like a veteran of Oh. The Afghanistan war, and she comes home, and things are garbage, and she has to turn to crime, and she, or she's forced, like, like, like, literally, the, the local sheriff, basically, frames her, and so she has to, go underground, but she's not gonna be driven out of town.
T.C.:This is my town. Yeah. I Yeah. That's that's and I and you're right. The original Robin Hood was most of the original the lore tends to tends to frame him around fighting the Crusades in
Jim:Yeah.
T.C.:The Middle East. So having her be a veteran of the longest war in American history, then, yeah, that makes sense that she's coming back from the Afghani war, the Iraqi war, somewhere in the in that region of the world coming back to see her whole life is gone in an upheaval. Mhmm. Making her special ops would explain why she had no continuous contact with her family and friends. Because one of the reasons Robin comes back and isn't aware that his, his his house has been put in ruins and
Jim:So realistically, you're right. Soldiers can keep in touch with their families, but I I think I I don't think you need to do that.
T.C.:Don't make she doesn't need to have we don't need to have a contrivance of why she was out of touch. She just was. Yeah. Okay.
Jim:Yeah. I mean, we can. She can be special ops, but I don't think it's necessary for for the for the contrivance yet.
T.C.:I just thought of a way to meet one of the demands just by the simple fact that we've cast Tessa Thompson in the lead role. Maid Marian can still be female because Tessa Thompson is LGBTQ.
Jim:So we Oh, okay.
T.C.:Yeah. One of the demands here was to have an LGBTQ representation in a lead role and not, like, a minor character. So having Made Marian still be Made Marian of what how whatever that places her. I also said we are the least qualified people to discuss LGBTQ because Sure.
Jim:Well and and honestly, even even doing, like, this modern like, I think we're going down a road now where like, oh, so hood as in like neighborhood, so is it a low income, right, Robin Hood type? Like, we alluding to that with that that name and that title?
T.C.:Well, as as much as I'd be willing to craft that story, and I think that is the way to go and think of low income and the way the 1% crushes the lower lower income neighborhoods. And I will acknowledge once again, we are two straight white males, and we
Jim:And and that that that's what I'm saying. That that that become that's now my like, this I think could be a really good fun movie to make, but like
T.C.:Are we qualified to make it?
Jim:Are we making it are are are we crafting an exploitation movie here?
T.C.:Well, that okay. So tangent off that, write for a living. You are aware, and so most of them many of our listeners aware are aware that I I write for a living. And what's a good portion of my work contains, consists of is people sending me premises or, a finished script, and then I have to go in and doctor it or punch it up or fix it or what have you Mhmm. Consult on it.
T.C.:And there are many occasions where I'll get a script where the lead character is one of my favorite ones I worked on had a young Indian boy living in Tennessee, and it's a coming of age story. And I told the client, like, I can do as much as I can. I can fix your plots. I can play with the dialogue. But once I've finished, you have to give this to someone of Indian descent to determine what I got right and what I got wrong.
T.C.:Like, I'm not gonna ever claim
Jim:Sure.
T.C.:To understand that perspective. I can only craft a story as well as I can craft a story. Similarly, I'm working on a screenplay right now that has a trans character, and I am an ally to LGBTQ rights, and I will write it as with as much love and respect as I can. But I gave it to a friend who is trans to say, can you read this and just let me know what I got horribly wrong? Okay.
T.C.:So that's it.
Jim:So we'll have we'll have someone listen to this episode when we're done. Yeah.
T.C.:And say, oof, boys. Yeah. So so taking into consideration that, yeah, we we we've kind of picked a a a the hood. Right? You're saying we're we're we we don't we don't wanna come off like assholes.
T.C.:So we're acknowledging that that there are elements here that we couldn't possibly understand. We can respect them and and and and show our respect for them, but ultimately, if we were to try to sell this script to the studio, I would, at the very least, get a third person on here who knows what the hell they're talking about.
Jim:Sure.
T.C.:So that said, I I I I think that modern setting of a of a vet coming back to the neighborhood and the area has been ravaged by some one percenter or a group of one percenters who are taking out like, have ruined Nottingham with their money, with their greed. And it's and framing framing the the vet that is Robin to to make her look like the villain and have her have the the sheriff or the cops looking for her. That all that works. Like, the the Robin Hood mythos is perfect for this this setting, I think.
Jim:Sure. Sure.
T.C.:And so then at that point, do you just check off the boxes and tell the Robin Hood story in that setting?
Jim:I kinda wanna.
T.C.:Yeah. Right? I mean, it's it's one of those situations of, like, it's worked so well in the past, and people know the story well enough. How do you what what what have they gotten wrong? Right?
T.C.:Why why are there so many modern failures of Robin Hood as opposed
Jim:So, I mean, do you do you make it? Do you, like how much how much do you lean in? How much do you do like, who did who did the remake of Romeo and Juliet, the modernization?
T.C.:Baz Luhrmann in
Jim:It was Baz Luhrmann. Early nineties. Yeah. So, I mean, do do we do what Baz Luhrmann did and not not necessarily lean in that hard where we use old timey language in mod? Or maybe we do, actually.
Jim:That hasn't been done now in a while. Maybe that'd be a thing people would be interested in.
T.C.:To to Yeah. To see a a almost Shakespearean sounding film, but it's a modern setting.
Jim:Yeah. Do we so, like, like, do you want to lean into it? Do you want to make it a fictional a fictional place so Robin returns to because the first thing that comes to mind is is being here in LA. So maybe she lives in Sherwood is one of the cities within LA. Oh, perfect.
Jim:And right, so then you change Nottingham would just change if you want to change it, you change it a little bit to be like Notting Heights or something like that, and it's a project.
T.C.:Sure, sure. And
Jim:it's being, like you said, torn apart by the local law between harassing the citizens Taxing
T.C.:the hell out of them, like
Jim:Taxing them, yeah. Like somehow doing local or maybe it even wouldn't you wouldn't even do local taxes, just shakedowns. Right. Everyone's getting shook down.
T.C.:Like, they're You know? Gentrification, like, buying up property and then, like, booting people out.
Jim:Yeah. And and then and then it just stays run down. They don't actually put anything new there or something.
T.C.:And,
Jim:like, you could even have a thread where, like, would you want to go so far as like, oh, there's a a couple major gangs here that normally fight with each other. And at one point, Robin brings them together.
T.C.:Unites the Merry Men.
Jim:And and they yeah. And so then, they turn on the sheriff of Nottingham.
T.C.:Well, see, there therein lies an issue right there. I think that's that's a a fun idea to think that Robin would unite a couple of gangs to be like, look. We're all fighting the same people here. We need to stop fighting each other. And then using them to do holdups and and rob banks or whatnot and what have you.
T.C.:But, ultimately, what it comes down to is it's not just going up against the 1%. There's the sheriff, and the sheriff is the law. And now we're creating an atmosphere where we have violence against police officers. So Yeah. In in that with with that being
Jim:And by and when doing a modern story of violence against police officers, I'm not saying that I I I actually think works like that. No, I'm not saying, Hey, we need to fight the cops.
T.C.:Right.
Jim:But I think when you start having images like that, we need to discuss a lot of reformation in this country. Yes. And I'm not sure if a Robin Hood reimagining is the right place to do it. Maybe it is. Maybe it is.
Jim:I just it feels now like it gets super sticky. Mhmm. And and and and that's okay. Maybe we're gonna make a really important film here.
T.C.:Well, we
Jim:Or or maybe we're gonna make something super, super embarrassing. I don't I don't know.
T.C.:I the this is this actually, you know, this is funny. I didn't didn't expect for this to happen because we haven't gone into this area of of our conceptualizing films.
Jim:Mhmm.
T.C.:Have we at all gone to an area where it's like, we're asking questions that aren't action packed summer blockbuster questions? We're asking, like, very dramatic serious issue. Certainly, this could be a fun movie, but we're also dealing with some very big social issues. I
Jim:think that ends up being my problem is I think these social issues deserve the gravitas given to them that they deserve. They deserve what they deserve. Yeah. But at the same time, doing the Robin Hood story, I feel should be kind of lighthearted.
T.C.:I see.
Jim:Like there's, and so that's sort of where I'm having difficulty. Because right, on one hand that artistic notion of, oh, all these things have modern relevance, Let's nail that. Let's put that to the front. I really like that. On the other hand, we need to shoot an arrow in half.
T.C.:Right.
Jim:Whether it be literal or figurative.
T.C.:I see. And and there therein lies some sticky subject matter. Now I'm all for that in filmmaking. And, honestly, the studio that could make the movie we're coming up with here is a 24. You look at, like, Queen and Slim, I think they did that of recently, there was Mhmm.
T.C.:The one where the cop gets has the body cam that gets hit, and she survives seeing the dirty cops. Yeah. So, like, a 24 would be perfect to to produce to produce a film like this with with a cast of people of color, with a with a crew of people of color to to address these issues appropriately. And, honestly, the the idea that there's a a bad sheriff that needs to be taken down in the process doesn't mean we have a cast full of crappy cops. Right?
T.C.:We can have, that that would be an element to to consider as well while being sensitive to the the culture of the lower income versus the 1%, but also not saying all cops are bad, which Mhmm. We're we're into some, like, heavy social commentary issues right here. And Yeah. You're right. Robin Hood is fun in in the the parallels to reality regardless of when the Robin Hood story is set is it's it's always parallel to what we're going through right now because there's always who has the power, who doesn't, who has the money Mhmm.
T.C.:Who doesn't. That that is just will exist until Gene Roddenberry's utopian future comes into existence, and we all just want the pursuit of knowledge. Yeah. So And it's who
Jim:has the knowledge and who doesn't?
T.C.:They have more knowledge than me. I shall learn more and take them down with my brain. I shall destroy you with my rhetoric. There were no blue textiles. It was very difficult to get.
T.C.:Bet you didn't know that. It's just a modest proposal that I'm trying to offer here, Jim, in terms of what that was what I was trying to say before about cannibalism. It was just a modest Gotcha. Gotcha. Swinging it back around here.
Jim:Yep.
T.C.:Let's take a moment here. Let's take a quick break. We've we've thrown a lot of spaghetti at the wall, let's start peeling some of it off. And, I'm hungry is what I'm saying. Let's take a quick break here, and we'll come back and and continue this conversation of how do we how do we make a Robin Hood that people wanna see.
Jim:Okay.
Commercial:Hey there. My name's Abuzafar, and I'm the creator of the Lore Party podcast. It's a show about our favorite video game universes and the stories they tell. What does that mean exactly? Well, we don't do game reviews or first impressions, and we don't talk about gameplay or the latest news in the gaming industry.
Commercial:Our main focus is with the lore, the stories, the characters, and the worlds that we jump into every time that we fire up our favorite games. If that sounds like your cup of tea, just search lore party on your favorite podcast platform and check out some of our episodes. Thanks for listening.
Jim:This is tearing me apart.
T.C.:Alright. We're back, and apparently, this is tearing Jim apart. Why is this tearing you apart, Jim?
Jim:It's because I think this is a really tough story to do again. Right? Like like, I hate to be hate to say it, but there's nothing new you can do with Superman. It's
T.C.:You know what? I
Jim:And and the reason I say that is actually because I know that's not true. There are people who probably have great ideas on what to do with Robin Hood. Right. This might be a great idea on what to do with Robin Hood. I it just feels like we've had episodes where we've talked and it's like, Oh my god, yeah, that would be really good.
Jim:Like, I think what we're saying would be because like I said at the top of it, great. It's a great concept. How can this concept ever fail? And then it
T.C.:just kinda It it does. There have been
Jim:And and if you then go and try to put some social commentary on your movie and it falls flat, oh, a movie that falls flat is one thing. A movie that's trying to be poignant and falls flat is just ends up being pretentious. And this type of messaging is the last thing I'd wanna be pretentious with.
T.C.:I see. And we class and and Right. Right.
Jim:Right. All all oh, well oh, no.
T.C.:But before we proceed to to try to see if we can rally out of here and make a move Yeah.
Jim:I I I it's at at this point, it's me saying, the plane's going down as I'm smashing
Jim:the engine.
Jim:So that's not
T.C.:Stop smashing the engine, Jim. Okay? We still have we still have them running. Let me say this. Let me let me let me discuss Robin Hood just as as a as a film, as a subject matter for not not our version, but just going back to to film.
T.C.:Disney Plus has announced that they are going to do a another one of their remakes, another CG version, and they're going to do Robin Hood. Live action Robin Hood. A live action as much as lion king was live action. Yeah. And I look.
T.C.:I understand. It's lion king made a billion dollars. My opinion is completely invalid. But they can try harder and make a better movie, and they haven't done that. When they
Jim:try No. The that that entire line is not a I'll bet you they have some special code name for it, which is grubbing the money or something like that. Yeah. Because it's it's not it's not about because, like, I saw Aladdin, and Aladdin was a bunch of fun. Yes.
T.C.:But it felt
Jim:oh, hold on.
T.C.:Sorry, Jim. I got a I I accidentally answered a phone call coming in. Hello? Hello? You're live on the air with Jim and T.
T.C.:C. Hello, Danny.
Dani:Hi.
T.C.:Hi. Sorry. What's up?
Jim:What do you think, caller? What do you think of this situation? What do
T.C.:you think, caller? Let's get your your 2¢ in here. We are we are once again having a lengthy conversation about Robin Hood, and we we we wonder what you is it possible to make another Robin Hood movie? What do you think?
Dani:I think it's been done too many times.
T.C.:Oh, we got a it's been done too many times response.
Jim:Think if you you were gonna
Dani:do it, you would have to do it as a social commentary with African Americans. That would be interesting.
T.C.:Hey. Did you hear that, Jamie?
Jim:I did did hear that. It's almost like we prompted
Dani:and over again. It's stupid, and it should be more in-depth than that.
T.C.:This is this is thank you. You validated me because that's that's what the the concept Jim and I had come up with, which is why we are we are currently having this conversation.
Jim:That that does feel real good.
Dani:Nice. Well, I'm glad I could validate you.
T.C.:Thank you, caller. Thank you. Do do would you like to would you like to have a conversation about this later?
Dani:Yes. I would.
T.C.:Okay. Excellent. Alright. I I will thank you, caller, for calling in. Well, a live call in on the on the show day.
Jim:Maybe this is a
T.C.:new thing we should try. Maybe this oh, wow.
Jim:A new addition to the show. Okay. I'm gonna go now that I'm thoroughly embarrassed.
T.C.:Thank you. Thank you, caller. Alright. You, Danny.
Jim:Bye bye.
T.C.:But I threw her on the spot there. Sorry. Do
Jim:you remember where you were? That that is validating. I was complaining about the Disney remakes. The whole point to that is to not spend a lot of money. It's to spend just enough money, and then it's literally, in my opinion, just nostalgia gathering.
T.C.:Well, here's the thing is that if it's a matter of saving money, fine. Here you go, Disney. You have all your assets from Zootopia, and you have the original Robin Hood. Remaster it. Don't rerecord new voices.
T.C.:Don't do a new score. Don't do a new anything. Literally do the Unreal Engine style that the that that that one animator has been doing for Ocarina of Time. Just take the existing movie, throw a new coat of paint on it, and release that. That'll save you all the money.
T.C.:That's it.
Jim:Sure. Well, there there might be they like, just like they have rules for princess movies, they might have rules for for these where, like, it has to be a certain way. I don't know. I don't know what they're doing.
T.C.:Well, they're making all the money is what they're doing.
Jim:It just
T.C.:aggravates me.
Jim:They're and they're doing it by It needs to fall under some threshold of something that feels and counts like live action. They're remaking their Robin Hood movie, I don't know how they're gonna do anthropomorphic characters as quote unquote live action.
T.C.:Right. Like how realistic that's the thing with Lion King. They'll they look realistic, but they have no, like, character about them. Scar doesn't have scarisms to him. He's just a dirty looking lion.
T.C.:Right?
Jim:I didn't actually see that one. Yeah. I all all I can talk about is is the big muscle
T.C.:genie in the Aladdin remake. Yeah. Other mistakes. And, again, my opinion is invalid because they made a billion dollars. So, like, what am I complaining about?
T.C.:Disney get is getting exactly what they want. So with that said, is that that the solution? Just make another card make a re literally remake the Robin Hood people already like. Don't try anything new other than just making it CG, and and that's the solution? Like, the
Jim:the Actually, I just had another thought, and and it relates back to another episode, and it relates to a couple other things. So well, first, I think you can't go wrong, and and and I need this is something that I just need to put off on a shelf because it will always be true. Okay. You can't ever go wrong by doing a Muppet version.
T.C.:Here we are, folks. We've brought it back to what everyone has been waiting for is the Muppetized version of Robin Hood. That makes you the money, folks. That is how you do this. We are gonna
Jim:I feel like it's been done. Right? Hasn't Fazi been Littlejohn or Friar Tuck already? I feel like that that that feels like it's been a thing.
T.C.:May maybe if we weren't in the darkest timeline, if we had been back in the timeline we were in before everything before CERN broke reality, then, yeah, that maybe you're remembering that reality.
Jim:Oh, maybe.
T.C.:So there there it is. The and you know what? You said you want a fun Robin Hood. I can we still meet oh my god. Tessa Thompson's still being Robin.
Jim:Oh, yeah?
T.C.:Although there is a Muppet named Robin, but we can lampshade that in the movie.
Jim:Like Oh, absolutely.
T.C.:Robin meets Robin. So Tessa Thompson can be our human character playing Robin Hood.
Jim:Yeah.
T.C.:And we can alright. We're doing This is this is the fun Muppets. The Muppets Robin Hood is where we can the Muppets of Nottingham. The Muppets of Sherwood.
Jim:That was just my first step. The other step I was gonna do, right, if if if you don't wanna do if if you don't just wanna do Muppets every episode where we're the the studio demands a Muppet version. That's just what our podcast is now.
T.C.:The studio demands the
Jim:Muppet. Other one was so there there's another thing that's really popular right now, and that's the Tiger King documentary.
T.C.:Yes.
Jim:And a bunch of things were going on, memes essentially, were going around where like people were casting a film remake of the Tiger Oh,
T.C.:the Titan.
Jim:Right. In, in they're casting different Hollywood people in different roles. And the very best one I saw was they said something like, y'all are missing the very best casting for Tiger King, it like, it's already they already fall all into place, and they cast everyone with the Christopher Guest crew.
T.C.:Now we've been And so
Jim:I know know I'm tangenting. I know I'm did we? I know I'm tangenting mentioning Tiger King, but I'm bringing that into Robin Hood. I actually think a Christopher Guest version, like, where
Jim:they're doing
Jim:improv for, like, a lot of it. Oh, and Eugene Levy would have to be the sheriff's.
T.C.:Oh my god. Yeah. Eugene Levy, Christopher Guest can be the the prince John. Right?
Jim:Sure. Yeah.
T.C.:Having having the nurse be played by oh, what's her name? Yeah. She's it's Stiffler's mom. Yeah. Catherine O'Hara.
T.C.:Who else is in there?
Jim:Fred Willard. Fred Willard. Would would be a friar tuck. Right. Like, I I I think that would be another really fun crew.
Jim:Mhmm. To see do. And obviously, the Muppets and Christopher Guest, these would be comedic. These would these would be full on more like men in tights style Robin Hood.
T.C.:The the the thing to do with the Christopher Guest troop, set it in the fifteenth century, but still film it like a documentary. Having them
Jim:sit down I didn't even think it like, you have the the confessionals
T.C.:The confessionals with the name underneath with the name underneath and, like, having them. So, essentially, now you can check off the boxes of everything that every Robin Hood movie has ever done, but then stick them in a room to be like, Maid Marian, Parker Posey, having having them sit in the room and talking to the camera and be and, like and just Robin Hood it up. Yeah. Right? Yeah.
Jim:Yeah. That'd
T.C.:pretty good. There you go. That that's how you that's hilarious. That's a funny idea. That's a straight to Netflix, straight to straight to streaming Mhmm.
T.C.:Hit right there. The last one I remember Chris Forgast doing was mascots, which was straight to Netflix, and that one was quite funny.
Jim:That's right. Yeah.
T.C.:Yes. Oh my god. I love it. Yeah. That's that's funny.
T.C.:I'm still willing to indulge in the Muppet fantasy, but
Dani:Sure.
T.C.:To see the Christopher Guest folks.
Jim:And and so so I I don't want to just just because here's what I feel like I just did. I felt like I abandoned a a shaky, a groundbreaking idea for, to lean back on safety with the Muppets and Christopher Guest. So I don't want to just bury that idea with these other funny funny like, let's talk about funny people.
T.C.:Well, No. I wanna I I think I
Jim:do I think all three of these ideas are are good. I want I actually would like to see I very much would like to see that that that first one. Mhmm. Oh, oh, I don't know if that's
T.C.:a I I think what it comes down to is
Jim:A bone I could I could chew on, though. It's I mean, I could. Like, that that I I that's biting off more than I can chew. I'm trying to use that idiom in a reverse I'm gonna stop.
T.C.:I'm gonna stop while you're talking. It's okay. Breathe. Breathe. Breathe.
T.C.:I think the first idea and and we we have validation by having Danny call in and literally put her on the spot and say, how would you do Robin Hood? Basically, validating all of our concerns. A twenty four is the company to do that. We are not the filmmakers to to be the ones to have the final say in it. Having someone like Ryan Coogler come in Fruitville Station, Black Panther, having him come in, Creed, and be the one to do this, having worked with Tessa Thompson previously in the in Creed.
T.C.:Mhmm. It's it's perfect for a director, a a a creator like that to craft a film with the proper nuance to the social commentary that would need to be had in a modern retelling of Robin Hood. And I think a movie like that would be really cool and impressive and meaningful in the hands of someone like that. Not that we couldn't present a bunch of ideas and help them craft the general plot of it, but when it comes down to the commentary from that perspective, that's how you do it right there.
Jim:And I
T.C.:think that's a success.
Jim:Didn't do I'm I'm trying to I'm trying to find those those two movies you mentioned. Queen and Sling was one. It's not that's not a 24.
T.C.:Oh, okay. Was it Lion's Gage? Or
Jim:Let's see. Production companies, Braun Studios, three Black Dot, Creative Wealth, Media Finance, De La Revolucion Films, Entertainment One, Hillman Grad, and Make Ready.
T.C.:That's a lot of producers involved when for production companies. Well, regardless of of and the
Jim:I can't remember the
T.C.:Was Black and Blue the name of the other one? Black. Whatever the case may be, I think in the hands of an indie film company that has crafted like, a 24 also did oh, no. Blumhouse did did get out. But having Jordan Peele be involved would be oh my god.
T.C.:I just got terrified by a ghost behind me. So so that said, that movie, I think, checks off all the boxes of the stipulations we are given by Finalee in terms of of the demand. And I'm curious if if we've we've we've found what they were looking for in terms of of that type of film. I do think discussing Christopher Guest is a completely different film. It's that's a lot of fun.
T.C.:Doing it documentary style is hilarious. I think Mhmm. Granted I made up the idea, so I'm I'm kind of being an egomaniac by saying it's a great idea when I'm the one to come up with it. But I can see it. It it feels like a movie that should already exist, having that cast that crew.
T.C.:And, honestly, because you mentioned Eugene Levy, I've been watching Schitt's Creek, which is amazing and hilarious. Mhmm. To Christopher Guest and and those folks, they're getting up there, and they they're older now. And not that they can't still still be funny, but bringing in, like, Daniel Levi Eugene Levy's son, Daniel Levy, and Katherine Harris on Schitt's Creek as well. Bringing a a new generation of capable improv comedians that aren't the Apatow crew, that aren't the the SNL alumni.
T.C.:Having those, basically, the Canadian improvers come in Yeah.
Jim:Yeah. Basically. Yeah.
T.C.:And and add some fresh blood into into the Christopher Guest movies would help. The he has tried previously, and I'm it was Prairie Home Companion. Oh, no. No. I'm sorry.
T.C.:Strike that. It was for your consideration, which was not a docu style mockumentary that he typically does. It was presented as a standard film, like, following Catherine O'Hara. It still relied heavily on the improv, and it and it was sort of like cuffing. It felt like cuffing what is so good about the Christopher Guest films that I'm glad that he returned to his form with mascots because mascots was quite good.
T.C.:So having a Robin Hood be a a mockumentary while following checking off all the boxes is very I think there's there's something there.
Jim:That would be a lot. I act I think that's the way to go, but I I do wanna say even if it wasn't that style, if it was just like a a a straight on narrative style Mhmm. It would it would still be really, really good. Chris Christopher Guest does have a few of those as well.
T.C.:True. True. Even having him be involved with, like, Rob Reiner doing Princess Bride, Christopher Guest starred in that. Rob Reiner had directed, this is Spinal Tap, essentially putting the ball in motion for Christopher Guest to have his entire career. Yeah.
Jim:But, I will I will take every chance I I can to drop Almost Heroes, which is severely underrated. Everyone everyone hates it, and they're wrong. It's amazing, but Christopher Guest made that.
T.C.:Did that was that was Yeah. That's Christopher Guest. That was Christopher so that's Matthew Perry and and Yep. And Chris Farley.
Jim:Yep. Right? Yeah. They're the main characters. Eugene Levy is in there as a supporting character.
Jim:He plays a a a French guide who, they hired because he's supposed to know all of the all of the Indian languages, and he knows none of them.
T.C.:You're you're this is a plug for
Jim:Almost Heroes. Go watch it. It's you'll hate me. I don't care. You will have watched it.
T.C.:I I would argue to I'd push for the the mockumentary style of a Christopher Guest Robin Hood only because doing it straight up would lend way too many comparables to men insurance,
Jim:which is perfection. That's true.
T.C.:And I would wanna avoid that. I would want another chance at seeing how the comedic gold that could come from here's your simple premise. It's Robin Hood with these improv geniuses. Here we go. Mhmm.
T.C.:Now Muppets, on the other hand, Let's our human character being Robin, does that make sense? Like, having Yeah. Having well, we can keep Tessa Thompson in the Robin role Mhmm. If to to meet our original stipulation here. Then who is our crew here?
T.C.:Now this Oh. We're kinda So it's so of, sort of seems familiar to the princess bride that we did, but it's It does. We literally spent
Jim:most very the familiar.
T.C.:We we spent most of the night of New Year's Eve just picking movies and casting it with Muppets. So Yeah. Here we go.
Jim:It's true.
T.C.:We Yeah. We don't have to spend a lot of time on this.
Jim:It's kind of interesting we didn't do this one. So I I think it right. You could go with irony and make Kermit Littlejohn.
T.C.:Oh, yeah. Yeah. I like that.
Jim:Rather than leaning into Littlejohn being big.
T.C.:Yeah. Fazzy,
Jim:make him a little guy.
T.C.:Oh, hey. I'm a Littlejohn. As you can see, it's a joke on my size. Yeah. Yeah.
T.C.:Yeah. I can I can see that? Yeah. Oh, look out. Having having Gonzo be Alan Adale or Scooter actually be better suited for Alan Adale.
T.C.:Right? Because in in the the the character classes, Alan Adale's the bard. Right?
Jim:Sure. Yeah. The I I my most recent brushing up of the Robin Hood story was Prince of Thieves, which does not have the Prince John, and it does not have that or at least I don't recognize the bard.
T.C.:The name. Okay. That's
Jim:right. He may have been one of the characters in there. I don't remember Fazzy is kinda like Will Will Scarlet plays a much bigger part in the Prince of Thieves movie, and he's, nowhere in the Disney version.
T.C.:Correct. And that was Christian Bale's character. Right? Yeah. Yeah.
T.C.:Yeah.
Jim:I got Pretty good pretty good impression.
T.C.:It's just doing Jack Nicholson pitched up. That's how you do Christian Bale. That's how you do Christian Slater. You're stealing my you're stealing my that's anyway, so Gonzo could be Will Scarlet just to finish off the the Yep. Mary
Jim:Ann. Or, actually, if if Will Scarlet is supposed to be, Oh, no. Never mind that. Never mind. Yeah.
Jim:That that works.
T.C.:A bunch of chickens for the Merryman. Of course. Yeah.
Jim:God, that feels really familiar.
T.C.:Piggy Piggy has made Marian.
Jim:Uh-huh.
T.C.:Having just now there's there's a fun little thing there. We're being very progressive by having Robin Hood played by a woman going after miss Piggy as maid Marian. Mhmm. But I do do I think the nurse, maid Marian's nurse, could be another human character, someone like one of our go to funny ladies, Melissa McCarthy, as the nurse. Sure.
T.C.:Imagining her in the the blue hat and dress that the chicken wears in, in the Disney version.
Jim:Mhmm. Mhmm.
T.C.:Who's our who's our who's our sheriff
Jim:in Prince John? We don't have one.
T.C.:Who can play I don't I don't wanna, like, go back to because, honestly, thinking princess bride, the sheriff is the six fingered man, and the prince is humperdink. Like, they fit those archetypes almost identically. So I don't want Sam the eagle to be the sheriff again.
Jim:Sure. Well, no. And, that he actually doesn't work as well in this. The sheriff of Nottingham, feel, is way more conniving and greedy Mhmm. Whereas, the six fingered man was was much more stoic.
Jim:Even though he was a villain, he he was iridite.
T.C.:You know, if we could get we could time travel this, the fact that Tim Curry has never been the sheriff of Nottingham would be perfect in a Muppet. And because he played he played Blackbeard in Blackbeard. Yeah. In Treasure Island. Muppets Treasure Island.
T.C.:So imagine him hamming it up as the
Jim:as the sheriff of Naughtydam.
T.C.:Yeah. But we already have two human characters. Do we really wanna throw a third in there?
Jim:Well well, I I would actually I would argue that the sheriff being a human would be better used than
T.C.:The nurse.
Jim:The nurse. And you know what? Why not Melissa McCarthy?
T.C.:As the sheriff.
Jim:There you go.
T.C.:Just just pissed off. You know? Just doing her yelling thing. Just
Jim:Yeah.
T.C.:Okay. So then, I guess, funny enough, the nurse replacing the nurse, Janice, is the only other girl Muppet. Right? But that's not who I thought immediately. I thought of Bean Bunny or Ralph as the nurse.
Jim:Sure. Either of those work. Either of those could be fun. Yeah. I basic basically, someone who Peggy could
T.C.:Push around?
Jim:Indirectly, yeah, abuse. Right? It's
T.C.:Then maybe Ganzo should be in there or Rizzo. Sure. Yeah. Just
Jim:yeah. Rizzo would work really well as as as well. Yeah.
T.C.:I honestly, I don't have much more to say about the Muppets being the Robin Hood characters because it's it's really just casting the the roles and then just letting it with Good.
Jim:Letting it it
T.C.:play out. So I I honestly think the the the two better ideas are the the a 24 serious social commentary one, that I think would be a a fantastic film and the docu the mockumentary style Christopher Guest movie
Jim:Mhmm.
T.C.:Is the way to go. Yeah. Those I'm more I'm more favorable to those two ideas as I love the Muppets. You can literally take any moment movie and put the Muppets in it, you already have a fun movie. Like, there's Yes.
T.C.:There's nary a movie That that's
Jim:why it
Jim:feels like that's why it's cheating. Right? That is why it's
T.C.:That is cheat. Seriously. Sweetums as John Coffee, Muppets Green Mile. There you go. Kermit is Tom Hanks' character.
Jim:Oh, god. I'd yeah. I'd I'd watch
T.C.:It works. I would watch works. You could literally take any movie and and just Muppet Muppetize it. Disney, what are you doing with the Muppets? There's your chance.
T.C.:Just Muppetize every movie. You could release one every three months Marvel style and make all the money.
Jim:I mean, they do have the rights to most of them now, don't they?
T.C.:Right? Yeah. Muppet Die Hard.
Jim:Kermit's I would so watch that.
T.C.:A Muppet Die Hard. Kermit is John McClain. Alan Rickman is Hans Gruber.
Jim:Oh, I was gonna say, the the the only well, no. Actually, yeah. It would it should be Hans.
T.C.:Yeah. The human is Hans. But we're we are off the rails there. I think I think I'm ready to kinda wrap up the episode here, unless you have more ideas in with the Robin Hood.
Jim:Nope. I'm just look I'm just looking for looking up technicalities now. I'm I'm still trying to find the the title of of that that cop movie.
T.C.:There's someone shouting at us right now that's like Yeah. You idiots, this this They've
Jim:been saying it the whole time.
T.C.:How they are. Gotta go back to this. I think yeah. I the the two the Muppets one would be fun as hell, of course, but I don't wanna I don't wanna always just default to that. But I think the Christopher and to to go back to your did we?
T.C.:We originally cast the Christopher Guest team with fan in the fantastic four roles many moons ago in season one. Just on a whim, we had had tangented off to making in one of our many riffs, we turned turned to Christopher Guest to cast the fantastic four.
Jim:Oh, nice. Yeah. Okay. So And then then the only other thing is is I do want to get our studio's full name said on on on the episode.
T.C.:Unfortunately, I cannot recall
Jim:Well, then you're gonna vamp for a second, and I'm just gonna go ask him.
T.C.:Oh. You're gonna Jim is Jim is running out into the into the into he's he's breaking quarantine, folks. He's going on, and here I am vamping alone. I can do this. So, yeah, I'm I am curious to hear what you have to say.
T.C.:I know I say that every time, and I mean it every time. When we when Jim and I craft these films, we we're doing it on the spot, and that is the fun of this podcast. And your feedback, your commentary, your comments on this helps helps us reevaluate the ideas we came up with and as well as think of stuff that we we we may have missed. So wondering what's your
Jim:Oh, prob oh, did you just use the
T.C.:same The Oh.
Jim:You use the same studio name?
T.C.:Pen was it pencil pusher?
Jim:Feel like I made it pencil pusher?
Leia:Was it pencil pusher? My
Jim:It is now. She doesn't she doesn't remember it.
Jim:I don't remember.
T.C.:Two guests in one episode. Yeah. The quarantine is bringing us so much fun.
Jim:Yeah. Who who knew so many people would would come together during a quarantine?
Leia:I'm gonna I'm gonna make one up right now. Okay. It's gonna be Scribe Productions.
T.C.:Scribe Productions.
Jim:Yeah.
Jim:Well well
T.C.:well, Leah, we have
Leia:I like to do movies based on books.
Jim:She can't hear
T.C.:me. She can't hear me. I just
Leia:I just
T.C.:Let let her know we we met her demands in terms of representation.
Jim:We met your demands in terms of representation. Yes. And that is now in the episode. And we've we've gotten a a cut, a a a clapper cut from this the studio.
Leia:Well, I was just high fiving myself.
Jim:Oh, mind.
Jim:It was
Jim:a high five curse.
Leia:So It's two women high fiving each other. Oh.
T.C.:There you go. Yeah. It's You know, my my know, remember back in the day when people would grab both their hands and shake them over their head on either side in victory? I think that was that was a self congratulatory high five. Like, someone is raising their hand like, hey.
T.C.:No one no one
Jim:Like in a boxing ring, the the referee normally does it for the boxer, but there's no ref.
T.C.:So they they, like, high five themself and then shake their hands on either side of their head. Does that joke work in audio? We will find out. Tweet at me. Hashtag self high five.
T.C.:Alright. I think we've we've exhausted our conversation about Robinhood, at least for air. We'll continue this off as we opt do.
Jim:Yeah. But But, well, we have nothing more to say. Another three hours.
T.C.:Exactly. So I think that does it for this episode. I'd love to know if we met the demands. Leah and Finn, who who were the, Scribe Studios and Valiant Kilmer Studios Valiant Kilmer. A joint effort to to ask for Robin Hood.
T.C.:We gave you three, two and a half, one being let us know what you think. So please please let us know and hit hit and, hit us up if you agree, disagree, or think we missed anything. Jim, let's do the social stuff. Do you wanna do it? No.
T.C.:I'll do it.
Jim:No. You can
T.C.:find us at studiodemandsit.com, or you can send us your demands. We are on Apple Podcasts, Google Play. Keep an eye out for every episode. We we come up every two weeks. If you like and subscribe, it'll turn up in your subscriptions.
T.C.:You can also find us on Twitter, Instagram, and Facebook at Studio Demands It, so like and subscribe there as well. And if you feel like giving us a review, like I said, that helps, as well as, you know, sharing with your friends. You can find me at t c's big head on Twitter and Instagram. You can find Jim. Jim, where can people find you?
Jim:At Tubaq Waxon.
T.C.:Tubek Waxon. And a huge shout out to Six Five Media for giving us this platform. This is a a very strange time with with this the ice quarantining and the shelters at home and not being able to, meet in person to to do the podcast. And, it's it's an interesting energy. It's a different energy, but, I'm I'm glad to say that we we still managed to this was fun.
T.C.:I'm I'm happy to talk to you, Jim, and put it to an audio recording regardless of not being in the same room with you. Yeah. Same. But I know that another Zelda podcast is continuing as well, and I don't know if the top hat balloon guys have started releasing new episodes of their show yet, but six five media has some amazing content. And check them out and like and subscribe their stuff as well.
T.C.:Jim is still struggling to find that movie. I can hear it in his in the heavy sigh he just gave us. He'll probably
Jim:find it.
Jim:I'll just yeah. I'll I'll stop. I'll just give up.
T.C.:So that's it for this episode. We'll be back again soon for another challenge to improve the world of cinema. Jim, anything any last thoughts?
Jim:No.
T.C.:No. Alright. Well, stay safe out there.
Jim:Should Gonzo should Gonzo be Robin Hood? Should he be the main character? Because then he can shoot a chicken through a chick no. No. Never mind.
T.C.:No. No. No.
Jim:That's not a thing we can have the Muppets do.
T.C.:Okay. We'll be back again soon to challenge the world of cinema. I am TC. I'm Jim. And And
Jim:this sounds like a closing.
T.C.:This is a closing. This is the end of the Chicago. Okay. Bye.
Jim:Yeah.
T.C.:It's time to shoot some arrows. It's time to rob the rich. It's time to get things started with them up to Robin Hood.