Does it just go? Good.
T.C.:Alright. Cool. Off the cuff. Love this energy.
Jim:Yeah. This is this is how we live now.
T.C.:This is the real world. Alright. Here we go. 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.
T.C.:How often do we talk movies, Jim?
Jim:All the time.
T.C.:Oh my god. You were really late on that one. In particular, we complain about the choices made in
Jim:the films we've seen.
T.C.:What Exist because of some It was not really way. Corporate hack cobbled together a collection of buzzwords and a test audience approved sequences. 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 positions of writing those films. We will be your screenwriters for this episode. I am T.
T.C.:C. De Witt. And joining me as always is Jim. The this this this is All
Jim:the time.
T.C.:This is a kangaroo court Burzelic. Oh, see, now that's a that's a callback to something that that we didn't record. Well, we did record it, but not for this particular thing. This Jim, confusing middle name, Burzelic. All the time.
T.C.:All the time. Hey, Jim. How's going?
Jim:Sense. Names don't make sense.
T.C.:Names are are but a human construct. Do you think dogs know their names? Or do they just know the the, like, the sound of their name? Right? Like, if you were like, I know you
Jim:have something their name.
T.C.:Yeah. Cats definitely don't know. My cat thinks her name is fingers rubs rubbing together sound. Like, I can't make it
Jim:I it I'm it might actually depend on certain things. Like like, she comes when you rub your fingers together like that, but that's because I don't think that she thinks that's her name. It's because she thinks she's gonna get pet.
T.C.:Oh, okay. But, like, dogs I I know dogs Like, you'll Go ahead. Like, you could just be like, uh-huh. Come here. And I feel like they would respond to it because they know that you're calling them.
T.C.:But if you were, like, just in a in a like, I could look let's see if I just be like, look at your dog. And without calling Beckett, just be like, Beckett. Beckett, I'm talking to you. Beckett, I'm talking. And I bet he wouldn't look.
T.C.:Or she will I bet she won't look. And she she would just keep gnawing on her bone. Bigger bigger question.
Jim:Maybe. I don't know. It it it does also depend on the animal. Not all dogs respond. But some do.
Jim:Bigger question.
T.C.:Do do you think dogs know when they're in a movie? Or do you think they just think they have a new friend they hang out with every day, and then suddenly they're not hanging out with that friend anymore?
Jim:Well, you know, getting behind the scenes, I think that they're doing what their trainer has taught them to do. And then
T.C.:Be friend.
Jim:Scene, they look at their trainer, and the trainer tells them what to do next.
T.C.:Be nice to that guy. You you don't think like, when I when I'm done with production, even when I did theater, you finish you get the blues after production's over because you don't get to see those people every day anymore. You don't get to exist in that world anymore. Do you think an a dog actor wraps a production and is at home like, oh, I sure do miss tackling drug dealers. I wonder I wonder why I'm not doing that anymore.
T.C.:Do do dogs get post production blues You know what? Women's too.
Jim:You know what? For for this bit yeah. Yeah. I do. I think they get real real upset.
T.C.:They get real sad.
Jim:Oh, they're just there's
T.C.:they start
Jim:bugging their agent. You gotta get me back out there.
T.C.:Goddamn it. Man, you know, it it's so BoJack Horseman is actually a documentary on horse actors. It all it all feels, like, real. Yeah. That feels real.
T.C.:Cats, on the other hand, they don't care. They don't care No. That they're they are owned by anyone. Their loyalties
Jim:are They they are not owned by anyone. They they cohabitate.
T.C.:The the authorities. Yeah. We We
Jim:I That that is a great interpretation of that. Right? There's the the food controller.
T.C.:Bring me the the the the dried kibble and the wet food, or I will scratch the shit out of you. Have you seen the sad cat diaries? It's a YouTube thing. It's it's a it's a cat, like, writing in his journal, and it's voiced by the guy who voices the Sad Cat Journals is a voice over guy on Animal Planet. Like, does legitimate documentaries.
T.C.:Like, he does, like, legit voice over for documentary, but somehow, he has this very jokey he's at the sad cat diaries, dear kitten, sad dog diaries, and it's all, like, cat perspective things like like, deer kitchen. Every now and then, you'll see a red laser ball dot on the ground. I assure you, it can be caught. I caught it once myself, and I held it for one whole minute. Yeah.
T.C.:It's hilarious. So there you go. There's a plug for for something there, Sad Cat.
Jim:There you go.
T.C.:Let's actually do our episode for the day.
Jim:Is our episode about animals in movies?
T.C.:Our our episode is literally nothing to do with animals whatsoever. Great.
Jim:Let's get
T.C.:to our demand for our success. We don't need to, like, riff our segues. It has happened in the past where you know, honestly, whatever our demand is, we'll do an animal version of it. How's that? Our success Oh, wow.
T.C.:Whatever it might be, is either podcasters or screenerators has given us a lovely growing collection of demands from studios literally all over the world. And these studios are you, the listeners who have submitted your request over at studiodemandsit.com. You can send us a demand for a movie, a TV series, whatever you like, and give your studio a name. So thank you for everyone who keeps submitting. Keep them coming.
T.C.:We have we're having a blast with these. And today, Jim, what do we have today? Well, this comes from Pen Thief Pictures. Julia from Pen Thief Pictures has asked us to remake in in the year 2020 here where you don't have to travel through time for this one. We actually have to remake the 1978 cult classic
Jim:Warriors. One of
T.C.:the the the Warriors. The we have been asked to remake the Warriors. Okay. From from Pen Thief Pictures. Couple of the the restrictions and demands we have here.
T.C.:We we have to keep the colorful, gang outfits. However, she would like us to make them a bit more realistic than they were. I don't know how we're gonna balance that one out. She wants better fight scenes. The guns still have to be kept to a minimum, because in the original, there's only a there's only the one gun that makes it from the beginning to the end, and there's one scene with other gunplay.
T.C.:But other than that, it's limited to fist fights and baseball bats. More roller skating, and James Reimar has to be in it. So James Reimar, probably best known as Dexter's dad in the show Dexter, which you not have not watched. He's currently on, Black Lightning as the, basically, the the Alfred esque character to Black Lightning. He was also in Sex and the City.
T.C.:He he pops up from time to time as a character actor. There you go, oh, yeah. That guy. So James James Remar is is that has to be in our remake of the Warriors. So Jim
Jim:Oh, okay. Because he was in the original Warriors.
T.C.:He was in the original as a very young young, good looking fella. Jim, the Warriors. What do you like the do you know have you seen the Warriors? Do you like the Warriors? I've only recently just seen it myself.
T.C.:Like so I could I could tell you things about it beforehand because it's such a cult classic. It's part of the pop culture. But now I've actually seen the movie very recently. What about you, Jim? You're smiling.
T.C.:I
Jim:I am. I I do like them. I have seen the movie. I've seen it several times. I enjoy it a great deal.
Jim:It is definitely a classic. And that is just remaking it is a tall order. All of those demands, that's a wonderful set of demands that contradict each other and is very much as as would be the studio's list. Good god. I do have one way in which I think we could make it and meet all of those demands quite easily.
T.C.:Was it with animals?
Jim:Yes. No. Well, because because the one that actually throws the biggest wrench in the works, especially with all of those other commands, is make it more realistic.
T.C.:Like, keep keep the colorful caricature caricature costumes that's that's that's designates the designate the gangs, but then also try to find a way to make it more realistic is yeah. That's a that is an interesting mishmash of ideas there. So for for for those who may need a refresher or not know what the Warriors is, you you may know it just just having tertiary knowledge of pop culture and just being aware of, like, references you might not know where they're from. Like, can you dig it? Oh, yeah.
T.C.:That's Morpheus from Matrix. Right? No. No. That that's not Morpheus from Matrix.
T.C.:Just you're thinking of the rave scene from Matrix Reloaded. He does not say, can you dig it? But I could see why you would think that. So it's it is a a a it's the not too distant future of 1978. Gangs Wasn't
Jim:it in wasn't it just supposed to be modern No.
T.C.:No. Modern day?
Jim:No. In in the They did say in the future.
T.C.:Yeah. So the director's cut of the film has all these comic book panels added to it and stuff that was removed from theatrical the theatrical cut, including the not too distant future, which the studio wanted cuts because they thought it was a little too close to a movie that had come out the year previous that started with a long time ago in a galaxy far far away. And Paramount was like, nah. We don't wanna confuse people. I guess people were done in the late seventies.
T.C.:That is an actual demand from Paramount Pictures was to remove the in the not too distant future. Anyhow, group of gangs all over New York, all represented by really silly costumes like every this gang all wears baseball uniforms and paints their face like kiss. And this gang has roller skates and and and wears bell bottom overalls. And this gang all wear green shirts and khakis. And this gang so it's and it's a it's it's a all the gangs meet for, like, a council that is brought they're all brought together to try to unify.
T.C.:The guy unifying it is assassinated, and then it's mass panic to try to get back to territories. And the Warriors, the title characters, are blamed for the murder and are just trying to get back to Coney Island, and they run into gangs along
Jim:the their home turf.
T.C.:Yeah. That's yeah. Their home turf. And that's the movie. And it is campy as hell.
T.C.:It's synthesizer music it is very play to the back row acting and great seventies hair a lot of oily chests and vests And, yeah, and it's a cult it's a cult classic. It is it is a you you will probably if you go to any, like, Madison, Wisconsin, Los Angeles downtown, like, some any Halloween, like, big city Halloween thing, you're gonna come across someone dressed like a Warriors character. I feel like it's that ingrained into into pop culture in that regard. Sure. Yeah.
T.C.:And you you like this movie, Jim?
Jim:I do. I do like this movie. I like this movie a whole bunch. My very first idea, just to
T.C.:Just jump right in. Get your
Jim:first idea. Yeah. Is yeah. So we're gonna make it now, but we're gonna make it a period piece. We're gonna do it then.
T.C.:Okay. We're making it in 2020, but the film will be will be set in 1978. That's that's your way
Jim:you're Okay. The near future of '78. Right?
T.C.:Oh, I love I love that concept of this is what the future looked like in this era. So it's like, it's the future, but it's what the seventies thought the future was. Right?
Jim:Like, Escape from New York. That far?
T.C.:Okay. Okay.
Jim:I I was I was actually I was actually gonna say The Warriors makes a fine prequel to Escape from New York.
T.C.:It it does. It and it has a very similar vibe to it. No. I'm okay with with this being a period piece that we set it in the seventies. Better soundtrack.
Jim:By doing that yeah. Yeah. We can we can definitely choose the sound track that way and make it very cool. But by doing it that way, we can do all of the things the studio wants without worrying about very similar to. Right?
Jim:If we were to make it now and we were to Mhmm. Let's let's say we wanted to do real gangs.
T.C.:Right.
Jim:The thing is real gangs are honestly pretty colorful. Choose colors and then they dress in them.
T.C.:Their their ensemble is very important. Shoes have to match tops. Don't wear white after Labor Day. Your purse goes with your slacks. It's very specific in the gang world.
T.C.:I would know. I'm from Wisconsin.
Jim:But, yeah, it's it's a it's it's a thing in gang. I mean, we have gangs in Wisconsin as well.
T.C.:I I know. I'm just being a smartass. Believe it or not.
Jim:So so it's not that that couldn't be done with a quote unquote realistic movie. What couldn't what I think is much harder to do is the only one gun, or just almost no guns, because modern gang warfare is rife with them. Sure. So, like like and not just that. I believe I think it would be unbelievable to see a movie, about gangs about modern gangs without guns.
T.C.:Yeah. I I totally sign off on that. And I think there's more fun to be had. It is more forgiving to set it in the seventies, in the early eighties, if we if we wanna kinda make it ambiguous. The Mhmm.
T.C.:The the the the the lynch what the only thing if you could only change one thing to make the movie just immediately better, casting, the look of it, all that, it's the fight sequences. Because when you look at the fight sequences in the original, it's very stage combat. It's it's not filmed well. It's it's choreographed as well as it could be. But you treat that fight that all the fight sequences like a freaking John Wick movie.
T.C.:I mean, Wick is really just one step away from the Warriors when you think about it anyway.
Jim:See, that's almost that's overboard. I wouldn't wanna go so, like, you're you're not wrong. The the the fight scenes are staged. At the same time, there's something about them that in there, they're very simple amateur not amateur, they're right, they're professionals. But like, it's not it's not like choreographed.
Jim:It gives it this more kind of real feel. When someone comes at you with a knife, if you're not a trained knife fighter, you're just gonna kind of like jump back and slap at it. Right?
T.C.:Get that knife away from Okay. So maybe not maybe not going full John Wick in terms
Jim:of the
T.C.:fight choreography.
Jim:Well, so, like so what I would use as an example instead would be the the original fight old old boy.
T.C.:Oh my god. I'm with you a 100%. I read your mind just now.
Jim:I'd wanna be I I would want it to be more like that. And, like, if you know old the that original Old Boy, the the hallway fight is classic. And there are there are a couple different projects that have tried to reproduce it. And and I I don't think I think they were all fine, but none of them were as as good and iconic and memorable as as that one. It could because that foot, it's just so gritty.
Jim:Yeah. Because.
T.C.:Oh, sure.
Jim:It's they're not they're not fighting. Yeah. They're not fighting with like martial arts. They're the like a guy has a hammer and then people go to hit him and they hit him a few times and he blocks and then but he's got a hammer so he has to fight back and so he hits a couple of guys and then one of those guys goes down and it's just and then the sound effects are kept well, right? It's not like, oh, I'm gonna do these these huge punch sounds or anything.
Jim:It just it sounds like a fist hitting meat.
T.C.:Yeah. It it doesn't have the dance quality of those hyper choreographed fight scenes that we get from from something like John Wick.
Jim:And I and I that's how I would want the fights to feel in a Warriors remake.
T.C.:And I agree. And and even so much so
Jim:that I Also because I'm I'm sorry to interrupt. But also because any weapons you do have present become that much more potent. If everyone's trained and like, oh, I caught your your knife in my hands and I turned it and disarmed you and No, no. Like, all all that takes for for an escalation is one guy to have a pipe. Right?
T.C.:Right.
Jim:Now that pipe is a big deal.
T.C.:And limiting the guns makes the gun all that more if it's just the gun that stuffs things out and you get it again at the end, having just the the Chekhov's gun as opposed to everybody wielding a gun gives that gun more power in the moment. So, yeah, I I definitely feel like Oldboy is a great reference. I but my my my imagination was already going that way anyway, so I'm glad you went there too. Looking at something like, hard boiled. Some of the some of the like
Jim:That's see, that's too that in my in my opinion, that's too
T.C.:Choreographed.
Jim:Yeah. Okay. I I was gonna I was gonna even, like like, hardboiled any of the the kinda Chow Yun fat, John Wu
T.C.:John Wu. Gun
Jim:gun fu masterpieces.
T.C.:And that's what that's that's what I was gonna say is that going to that extent is is even too one step too far. Going more towards something like the difference between the Rocky fight scenes and the Creed fight scenes. Whereas Rocky even has like a a those fight scenes have a you can see the whiff of the of the fist in some of the angles whereas Creed you're right in there and you feel every punch. It's just that little bit of just that the you wanna we want the audience to be, oh, oh, oh, I feel that as opposed to, yeah. Oh, yeah.
T.C.:Which if that's a a fair description between John Wick fight scenes and old boy fight scene, I think. I don't think there's a better description than what I just did right there.
Jim:Yeah. Yeah.
T.C.:So so just doing the fight scenes better already makes the movie more modern, gives it gives it credence to to be remade, making the fight scenes better. And I always wanna go on record saying that I don't think every movie should be remade with better fight scenes because I love the fight scenes in Indiana Jones. I like that Harrison Ford winds up his punches. I'm okay with it. Go back like, I like the the the wide stance of holding a gun from predator two.
T.C.:Like, I'm okay with that. I don't think everything is better when you just make the fights better. But in this occasion, I think I think having better fight scenes and having distinct fights fighting styles will also
Jim:Oh, sure. Per per gang.
T.C.:Right.
Jim:That'd be that'd be kinda cool.
T.C.:Really, the key here is to remake this and not make it silly because you watch you watch the Warriors now, and it is campy. It is a very campy, culty movie that you sort of I, at least, I, as it will watch it and sort of chuckle at the ridiculousness of guys in baseball costumes fighting guys in leather vest with baseball bat sword fights. Like, that's silly inherently, but to make that cool would be the would be the the fine line you're walking here.
Jim:Well, that might not be I don't know. No. It I guess it could be cool. It could be cool. Right?
Jim:John Witt actually does a really good job of of making the people the people didn't have very colorful outfits, but they all had very stylized outfits and behaviors between the different group groups and the different waves of enemies that he fought and stuff like that. So
T.C.:it's having
Jim:Witt showed that that you could do it.
T.C.:Without it being cartoonish. Like, we're we don't need to go into Marvel territory.
Jim:Being without it being ridiculously cartoonish. Might say John Witt is kind of a cartoon.
T.C.:It's it's modern day slapstick is what it is. It's what Charlie Chaplin would be making if he were still alive. It would be very old, but he he'd still he'd be in John Wick for sure. Him and Buster Keaton just slap fighting with walkers.
Jim:So they're basically, right, do it doing, like, a a version that is set in that period with sort of updated visual effects. By visual effects, I just mean I guess I just mean camerawork and lighting and better less seventies cinema fight choreography.
T.C.:Yeah. Yeah.
Jim:Now that said, I just want to, for a moment suggest, the opposite. You can still do it seventies, or you could, or I guess you could, you could more modernize it if you wanted. Because the premise, actually, I remember it, the reason there were so few guns is because they had agreed to not bring them because of the the Yeah.
T.C.:It was a it was a one one time deal. Don't bring weapons.
Jim:So so that could still be the case for our our even even modern remake is the the people attending honor honor that. And then oh, the other thing about setting in the seventies that makes one aspect way more identifiable and and or believable is the way that news is disseminated to all to all the gangs in gangland is through the radio.
T.C.:Yes. Nobody else through
Jim:the radio now.
T.C.:No. Everyone's listening to Spotify podcasts.
Jim:Yeah. What what what's what's
T.C.:the what's the buzz out of the wire? I don't know. I'm listening to this great Jason Moran song. Hold on a minute. That's not very tough.
T.C.:You're a wimp. That's my one of the biggest insults in the
Jim:I'm catching up on I'm binging a a true crime podcast.
T.C.:Get with the program. We're running for our lives. Yeah. That there is something lost by technology so often by having the immediate access to phones and information. The the modern era makes it a lot of difficulties to come up with contrivances about why didn't they just do this.
T.C.:Although watching watching the Warriors, one might question why they don't just get a cab. Well Hey. Cabbies.
Jim:You you get a cab by by hailing one. They need to be there. There were no cabs. And when there were, honestly, they probably saw that they were a gang and were like, I'm not stopping for you. Alright.
T.C.:Alright.
Jim:Also, it was probably because the cabbies are a gang themselves. And they're like, oh, we gotta avoid the cabbie gang.
T.C.:We're the cabbies. We're the yellow the yellow taxis. No. Wait. That that probably verdict
Jim:me. The checker The The The checkers. Checkerboards.
T.C.:The check the checkerboys.
Jim:Yeah. There you go.
T.C.:We're the checkerboys.
Jim:The the yellow checks.
T.C.:King me. King me. Pow.
Jim:So whether whether you do it then or you do it now, you can justify very few guns, very few weapons Mhmm. Because they all left them home. So they all have to go home to get them. And then, again, I like the seventies one more because you get to keep the radio. You could actually have going out over the wire, over over the the the air, orders basically to lay low, so no guns.
T.C.:No guns.
Jim:Gun guns bring cops, no cops. And then and then you can actually escalate, then by a certain point, they can be like, okay. We still haven't caught the Warriors. You can start you can start
T.C.:Packing.
Jim:Yeah. So And so then you can get you can get a climax that has a bunch of guns. Oh, but the other the other way I was gonna say the opposite is you could actually go so I like the idea of the less skilled fight. It makes it makes it seem more visceral and and something that you could actually go the opposite. And everyone is hyper skilled.
T.C.:Like everyone else had a fight. Yeah.
Jim:Yeah. And and that might make it too much like a kung fu movie. So that that might actually be the problem with going that route. But you could, and then your fight scenes, you couldn't you could do John Wick even though I said no earlier.
T.C.:I'm I'm more of the mind of of keep it raw. Like, I'd at at the at maybe a couple scenes that are a little more choreographed, but there's something more interesting in seeing a fight like, say, like, even like the the Batrak the leaper fight in winter soldier in cap America winter soldier. It's a choreographed fight, but when they toss their cap takes his helmet off, throws his shield down, they just go fist to cuffs. It just feels like a blow for blow fight. They're not doing flips or anything fancy anymore.
T.C.:They're just kicking the crap out of each other. So I think there's a fine line of of being able to choreograph it without turning it into a Jackie Chan fight scene or a John Wick fight scene.
Jim:Sure.
T.C.:But really the all that aside, the main question is is do we just retell the same story? And if so, what tweaks do we make in that? And while you're sitting here thinking about that Mhmm.
Jim:I'm gonna
T.C.:take we're gonna take a quick break here to see to to hear from Six Five Media, and, we'll be right back with the answer to that plot question that I just posited to Jim. Why am I still talking? Here's a break. Hi
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T.C.:And we're back. That was a quick little break there. Thank you. Well, I guess it was quick for them, not quick. Doesn't matter.
T.C.:Here we are. We're back again talking about the Warriors. Why am I recapping what we were doing? This is not radio. Jim, what is wrong?
T.C.:I am broken right now. So the big question of whether or not we should just retell this plot or come up with something new. Now the demand was to remake it. So I feel like that already restricts us to not tell a new story necessarily. Mhmm.
T.C.:And the the simplicity of the story that does exist of just get the eight of them from point a to point b and lose people along the way. In my watching of it, what I'd feel was lacking I do like the movie. I don't wanna I don't wanna give the impression that I don't. But what I would what I wished for or would hope for in a in a retelling would be just to make the characters there needs to be more about them. They're all very my name's Rembrandt.
T.C.:I paint things. Like, there could be a little more character development in the the ensemble of our characters, the Warriors.
Jim:You're not wrong.
T.C.:Okay.
Jim:I guess I am the reason one of the reasons I like the Warriors so much, one of the reasons I think the Warriors, despite some cheesy stuff like you mentioned, still resonates so well is because it has a bit How do I say this? It feels a little more real because they don't exposit or dialogue about things that they would already know about each other. It's not about character arcs and talking. It's we we have to survive.
T.C.:Sure. Well We
Jim:have to get from here to there. And the arc is do we survive. Right? It's it's we we made it or we didn't.
T.C.:Well, let me let me go off of that for a moment here. This episode that we're recording right now actually ties into an episode that I did for the Filmological Society podcast. This would probably be, like, a month month back now by the time this hits the air. And that's what I watched the Warriors for. I watched it to review it because it was a movie I'd never seen.
T.C.:Sholzy on that podcast has a set has a recurring episodes of movies you you haven't seen. What? And it's, movies that are classic pieces of cinema that you haven't seen. I got to watch it. What struck me in watching it is it's a Greek play played out in 1978 gangs in New York style weird cartoonish characters.
T.C.:And in Greek tragedies, often is the case, that the protagonist is a group rather than an individual. And the the warriors themselves, the title characters, the eight guys who, whittle down to seven plus they add Mercy into the group, they're the main characters. Swan as the leader certainly has individual things he does. He does have a tiny bit of a journey himself in his getting to know Mercy, being on his own with her. But there's not a lot of character growth.
T.C.:There's not a huge massive story arc. It really is just survive the night. So there's a place for that. So I think maybe what my my desire is from a modern storyteller, a modern, more modern screenwriting conventions is even if only a little bit, not adding full character arcs and descriptions and individualize them. So, like, this one's the sniper, and this one's the demolitions guy.
T.C.:And it's it's just enough of I'm sorry we bring it up so often, but I'll I'll use Die Hard as as the example. All the goons for Hans Gruber in Die Hard are individuals. Sure. They you might not maybe you don't know their names, but you can identify them individually. They're not just Yeah.
T.C.:Goon number one, goon number two.
Jim:I was gonna use predator or aliens or even
T.C.:That's why I stopped.
Jim:As as reference.
T.C.:That's why I stopped. I was about to say predator because that group with Schwarzenegger, though they're all just meatheads, and they are a group that is essentially the protagonist that Dutch then comes out of.
Jim:Mhmm.
T.C.:There's they're pretty much all the same in there, but there's enough individual qualities about them to make them to set them apart from one another. And with the Warriors, there's a little bit of that in what exists. In remaking it, I'd want that to be up just a little bit more. We don't have to give you full complex backstories. But having little thing little nuances to each one of the eight main character eight warrior characters that makes them my favorite character.
T.C.:Right? That that's that's what I'm saying. It's kinda hard to point at them now and go, which one's your favorite? I don't know. I can't even name all their names.
T.C.:Right? But you can look at predator. You can look at aliens. You can look at other sort of survival ensemble groups, movies, and and you can sort of pinpoint. Oh, Billy.
T.C.:Oh Yeah. Dutch. Oh, Mac. Like, they start to individualize themselves while still maintaining that they're the single protagonist Yeah. To take it all the way back to the Greek source material.
T.C.:So that's what I'm asking in this is to to Okay. Oh, the I I see here. There was one other demand. I forgot. Okay.
T.C.:But I I'll add I'll add to it in a moment. So you see what I'm saying, though, in terms? Sure.
Jim:Overall, what what I really feel like the the remake would be is really what we're saying is cleaning it up. That's really it. Like, because because honestly, we could watch you did you did more recently. We could watch the Warriors, and they do define each of those characters. They each have their own variation on their outfit.
Jim:They have their own personalities and drives. And they even have varying relationships between each other. They're just kind of downplayed and very subdued and subtle.
T.C.:And just be bringing You it up to me ever so
Jim:want the rookie, the new guy, to be a little newer. You want the traitor to just be a little more sneering.
T.C.:A little more traitor y. Yeah. Not not turning them into caricatures, but just giving them a little bit more. So, like, in watching the Warriors, Michael Beck, who plays Swan, the main character, and Deborah, long name I can't pronounce, who plays Mercy, are the best performers in the film. Mhmm.
T.C.:They have a they have a presence on screen. They have a great chemistry together that they have a couple scenes, just the two of them. And it's it is the most impressive performances in the movie. And that is using the material they had to and making the most of it.
Jim:It's You mean you mean you didn't like David Schwimmer as leader of the orphans?
T.C.:That that was not David Schwimmer.
Jim:No. It was not. I I always I always thought he looked very similar to him.
T.C.:I could
Jim:imagine I could imagine David Schwimmer being like, you mess with you mess with me. You mess with the orphans.
T.C.:You you mess with the orphans, guys. I'm just messing there. We were on a break. Giving the maybe it's more freedom to the actors to really, giving you know, some more meat to play with just to so like I said like I said a few minutes ago, to be so you could point at the goal. That's my favorite character in this movie.
T.C.:And that's little things. That's giving them a little couple extra bits of dialogue here and there, a little little extra things on their costuming here and there. Individualize them on screen and on the page just a little bit more. And and that's honestly, that's the goal that should be the goal of all ensemble movies, and it often is Sure. To to create a memorable group and and and letting the the lead the leader stand out as best he can.
T.C.:And often time but but the thing is that, like, where I said Michael Beck and Deborah, long last name, stand out
Jim:so Volkenberg.
T.C.:Van Vultenburg. Van
Jim:Vultenburg. Van Vultenburg.
T.C.:Thank you, Deborah Van Vultenburg for your amazing work in The Warriors.
Jim:She says you're welcome.
T.C.:Oh oh, good. I'm I didn't realize you were in immediate touch with her. So I I don't think the plot needs to be changed. It's just those little tweaks in the fighting, in the the look of it, in the performances of it. And that leads to the last demand.
T.C.:I mean, yes, there's the demands that say more roller skating. James Reimar needs to still be in here, make it more realistic, but also keep the colorful costumes. Those are demands Well, worth
Jim:I like like a few of them, like James James Rimor now, he's much older. I don't think he could be a part of the Warriors or or one of the immediate gangs. He could be the Cyrus.
T.C.:Can you
Jim:dig it?
T.C.:He could be a cop.
Jim:If well, okay. So you know that. I was I was just thinking if we were going to add anything to the story or do anything new, it would be what if because the cops show up to to split up the big the big meeting. Like like the whole thing was a setup. It was bang.
Jim:Oh, no. The warrior shot Cyrus. Cops show up. How did they get there so fast? Everyone run.
Jim:Yeah. And they and they the the characters actually talk about that in in a couple of the the low moments. And that's good. Or like or a cop that we we see is also chasing them down could be interesting. However, I I think that what is also kind of important to this story is this isn't the streets versus the cops thing.
Jim:When you when you bring the cops in as a very active element like that, as as a element with a face
T.C.:Right. They're more of a force in they're they're more of a force in nature in the way they exist in the current in the original film is, like Yeah. There's no there's no named cap characters. They just appear Yeah. As a threat.
T.C.:They might as well be a rainstorm.
Jim:Yeah. And and and I actually would I think I would prefer to keep it that way.
T.C.:Okay. I you did make a an you did help with, why didn't they get a cab by having a cabbie gang. That could be even if it's just a scene that that gives you that reason why they aren't just taxiing across town.
Jim:Mhmm.
T.C.:That could be James ReMar's cameo right there. Like, no. No. The the checkered boys know better than the mess with the Ugoat boys. This is this is your situation.
T.C.:You figure it out. You won't get a ride from any of us. The calves are off the street tonight.
Jim:Actually, that that'd be a good one. Or actually even making him leader of the orphans, the one gang who who goes to actually give the Warriors a moment of of respite. Because I think they didn't actually go to the meetup because or they weren't invited.
T.C.:They weren't invited. Weren't invited.
Jim:They were
T.C.:so high.
Jim:Yeah. There you go. So you make you make him the leader of that. So he's resentful because he's sort of this old guard kind of guy in in the the gang underworld. And then his gang wasn't invited.
Jim:You basically make him almost like a Fagan type figure who just From a Who leads who yeah. Who leads just sort of an army of of street urchins. Well, that So on one on one hand is is is a little bit detestable to everyone else. Like, really? You you have a child army?
Jim:And and so so he is resentful back.
T.C.:That's that leads us segues nicely into the final demand we had here, which is whereas the Warriors is cast with adults Mhmm. The the final demand was that we cast this with t actual teenagers. Now Okay. The I I couldn't name a teenage actor that could be in this, but the the idea of it's a it's a weird balance here because now we're asking the fights to be better, but having it be teenagers
Jim:The fights are the fights are better in in a in a different way because remember, there's there's still they're not hyper choreographed.
T.C.:Mhmm. Mhmm.
Jim:Right? So it's
T.C.:So it still works. Yeah.
Jim:Right. Right. I don't know if you've ever seen teenagers fight.
T.C.:I watch bum fights and YouTube fights on and shot in in a portrait mode on cell phones all the time, Jim. It's how I get my
Jim:kicks. Okay.
T.C.:Mean, I it's literally how
Jim:I you are very aware.
T.C.:It's how I learn how to fight. I watch I watch teenage fights videos from Facebook. It's a lot
Jim:of, like, just flailing Nothing but nothing but lively foot lively footage.
T.C.:So casting this with kids adds an interesting element in so if we're setting it in the seventies, we are still Interesting.
Jim:That is that's an interesting idea. Let me let me check something real quick. Because Hollywood always does age up. Right?
T.C.:Right. So, like, a lot of the a lot of the actors in the Warriors look like they're damn near 30. And not to say that 30 year olds can't be in gangs, but, there is
Jim:The Warriors was made in '79.
T.C.:Right.
Jim:Yeah. Swan, Michael Beck, was 30
T.C.:Since?
Jim:When they made when they made that. Even if we
T.C.:actually made him 20.
Jim:I actually don't think I don't think adults are unrealistic, but making a range of ages. Right? Because if you look at how gangs are compromised, it's basically people doing criminal and illicit activity. The older people have been around for longer and are usually more of leader types, which sort of works. So you have the leader who in the original gets caught.
Jim:He gets caught right away. That's actually one of the huge contentious points, the subplots for the Warriors and why they have so much trouble. They're not sure what to do without their leader. Mhmm. So if you have like the leader, the leader can be the oldest, and then like his a couple lieutenants being a bit younger.
Jim:Having Swan be in his mid mid twenties, late twenties Yeah. I think I think is is okay. Maybe not. Maybe we do want someone younger.
T.C.:Well, I I feel like in the position he's in as the leader, it makes sense for him to be about mid twenties. But having two of the characters be 18, 17, like, the youngest of the characters to be
Jim:No. The well, noticeably younger. The the youngest, yeah, the the youngest should be, like, 14 or 15 years old.
T.C.:Yeah. I I feel like the whole I don't know. The demand just says sorry. Let me just look at the demand real quick. It was
Jim:So I guess in that way, we are we like, just in in trying to pay more attention to that. That is something I would I agree. Short answer, I agree. But I think that age range should be pretty wide. I like the idea that the youngest one among them is well, see, nah, that doesn't make sense either because the meeting was supposed to be all of the all of the leaders and shot callers.
T.C.:So Well, it was
Jim:probably have all kinds
T.C.:of It was it was the leaders and shot callers plus eight. Everyone was was told to bring nine representatives. So we can have our misfit group of various ages. Having a younger character as well works for there's a there's a slight divergence in the plot where three of the characters end up getting basically caught by the sirens in Greek mythology. It's a group a gang of women called the Lizzies, and they're in they're in an apartment with them.
T.C.:The Lizzies are seducing them, and then they all pull weapons. That's the one scene that has a gunplay in it because the Lizzies weren't at the meeting. Is
Jim:this is this actually just the Odyssey? Is the Warriors the Odyssey?
T.C.:I no. No. In looking at some of the reference material and inspiration for this, it came from our basis by a Greek a Greek play. Let me just look it up here. Yeah.
T.C.:Anabasis by Xenophon. So it's the account of an army of Greek miscreants and mercenaries after aligning themselves with Cyrus after a battle, yep, in an attempt to seize the Persian throne, find themselves isolated behind Persian enemy lines and trying to get home. So it's it is based on a a Greek tragedy.
Jim:Okay.
T.C.:But a lot of the Greek tragedies are similar even even if you're
Jim:thinking about is about it's the war is done. We're trying
T.C.:to
Jim:get home.
T.C.:We're trying to get
Jim:home. It's always about getting home.
T.C.:Yeah. The Greeks really just wanted to stop fighting and go home is what I'm hearing.
Jim:Well, they no. What it was is conquering things and and and winning, that was easy. That was boring. The the interesting story was getting home.
T.C.:Getting home is the hard part. But, anyway, having having, like, a younger kid, like, the youngest of the characters be one of those three that gets tempted by the sirens to be the one like, oh, gee, guys. I think we better get out of here. And then surprise, it was a trap all along. And basically being the one who just has enough foresight to rescue the two other guys gives that character just a little bit more of a moment with just a little extra details than
Jim:he has in existence. And a and a good counter too, because I am I imagine everyone else is gonna sort of be babysitting him. That could actually be a literal line early on. Like like, I realize we're not a big gang, but do we have to bring diapers here?
T.C.:And they're like, hey. Hey. Stop calling me diapers, guys. That's not my name. It's it's Depeers.
T.C.:In the warriors that we have, there is nine of them to start. Their leader gets taken out right away. So it's eight of them will hit the road. Mhmm. They the first time they hit the subway station, one of their characters, one of their gets killed by a cop thrown in front of a subway train, and there's no acknowledgment what's of it whatsoever.
T.C.:Now this happened because that actor and the director kept fighting, and the director just decided, you know what? We're killing them off. Alright. So unceremoniously kill them off. Having a character still die in their journey and acknowledging it ups the stakes and the fear that these characters would go through.
T.C.:And and even having a having him be the maybe the one who brought the youngest character in, and now he he the babysitter is gone. Again, just little details not over developing these plots to be Sure. Yeah. We I don't want a two hour movie out of this. The original Warriors is a ninety minute movie.
T.C.:That's nice and tight. Yeah. Keep keeping it
Jim:in I that think I think we can even keep it at at ninety. Because again, I like all the things I think we're we're suggesting on inserting here are would be done kind of like what you said. It's it's just just turning the dial on the caricature. I don't want to say that, but on the caricature dial, which is almost always set to zero, we're just turning it up a little bit, just ever so slightly, right? And like we can even referencing to give an idea of how much turning that dial, think of like Predator or aliens.
Jim:A lot of that characterization is done before the crisis. Right? Right. So this would be a lot of this would be on their way to the meetup. Know the movie I know the movie really mostly starts at the meetup.
Jim:It starts with Cyrus talking.
T.C.:But it it opens with a montage of characters talking about the meetup. All the exposition is dropped by, like, a montage of all the characters going to the place. So narrowing narrowing down the scope of that montage to our main cast and getting there, is how you this is the helicopter scene from predator. It's the
Jim:Yeah.
T.C.:It's the it's the
Jim:It's the briefing the briefing or or breakfast for yeah. The breakfast It's for for
T.C.:funny that we keep using these sci fi movies, but it does it you know what?
Jim:Know them well.
T.C.:We know them well. This could all be applied similarly to something like Saving Private Ryan, which does a good job creating its ensemble through brief drops of dialogue, brief drops of of character growth or just the look of certain characters. Yeah.
Jim:But but, yeah, between the look and then, like, individual actions, like, I'm sorry, sir. She reminds me of my niece. Okay, Vin. Okay, Vin Diesel. Get a career now.
T.C.:You you're fine. You can have a career now. Two of the things worth developing would be, one, Mercy as a character is actually a really good character. She's the best performance in the movie. Her and Michael Beck, Deborah, long name, I forgot already.
Jim:Van Volkenberg.
T.C.:Van Volkenberg. I'd say I was just testing you, Jim. And, so giving giving, the female presence in the movie just a little bit more to be to acknowledge that we exist in a less there's a a near rape scene in the Warriors, and we're supposed to feel sympathetic for Ajax getting arrested because he tries to just jump a woman in the park, and she's a cop, handcuffs him to the to the bench, and that's how he's captured. And we're supposed to feel bad,
Jim:I think. Although I will say I don't think so because he was he was the he was the asshole of the group.
T.C.:Yeah. But, yes, I I don't feel bad for him. I just fear that they they don't give enough consequences to his actions, And that goes to the representation of women in the movie. So giving the Lizzies a little more, oomph, giving, giving the DJ a little bit more. Again, this is all just going just taking it up one notch extra to to make the film more appealing as a modern film even though we're setting in the seventies.
T.C.:I'm not trying to be a social justice warrior here. I'm just thinking for the sake of better storytelling, better a more interesting film. Don't you don't relegate people to girl.
Jim:I'm only interested in movies where the cast all look identical.
T.C.:Well, as long as they're oiled up and shirtless with their leather vests over, I'm good too. That said
Jim:This not not that Snyder film.
T.C.:The the other thing I think needs developing is the finale. So I don't want a a balls out battle royale to end this, but the way the movie ends is just them standing on a beach. The bad guy who started this whole thing by assassinating Cyrus pulls the gun, the gun, on the hero. The hero kinda pivots to the right and throws a knife into the guy's wrist. And even though the guy still shoots directly at the group of warriors, no one even flinches.
T.C.:And he's like, ah, my arm. The movie's over. It's really interesting. I think this one I
Jim:think it'd be hilarious. The actor breaks breaks the fourth wall and goes, ah, but you actually hit my arm. The movie's over. The and it ends like Monty Python's, holy grail. The movie's over.
Jim:Over. This is all done.
T.C.:A little bit more mano y mano bad guy versus good guy mo. I I don't know if it's fulfilling enough to see it get to that point that they struggled their whole the whole movie to get back to their territory. And there's even some good dialogue there when the when the bad gang comes up and The warriors come out to play it. Like, that guy is standing right there. Swan says, I thought I always thought when I got back home and I could see the ocean that we were safe and the war was behind me.
T.C.:I guess I was wrong. That's a pretty I paraphrase that a little bit, but that's some pretty cool dialogue to lead into a final fight sequence. But I don't want a describe the fight and then five the five point finger of death, heart exploding thing from kill bill two to be how we end this movie. It'd be nice to have some sort of climax that is more than just, ow, you got me with a knife, and I did shoot you. Bye.
T.C.:You see what I'm saying? I don't know. You can you can disagree with me, but I think there needs to be something.
Jim:Well, so I think you're not wrong. Right? Like, the biggest disappointment for me of Gangs of New York was that they set up for this huge gang fight. It was gonna be phenomenal. It was gonna be the greatest thing to happen in, like, ten years in either direction of that movie.
Jim:And then they interrupted with the war. And by the war, I mean cannonballs that just spread fog and smoke, so you can't see anything and nobody fights. It's like
T.C.:No fight. Sorry. No fight.
Jim:It's the most disappointing and anticlimactic set of explosions I think I've ever seen.
T.C.:Especially in a three hour movie.
Jim:Yeah.
T.C.:So I'm saying we need to just figure out So more exciting conclusion here.
Jim:Okay. On paper, talk talking it out. The ending that I think should happen is there there can be there can be some kind of fight. Right? And that gun needs to come back.
Jim:It is Chekhov's gun, so it needs to get fired. It'd be disappointing if it wasn't. But I think something happens. I don't know if the they were the Misfits. Right?
Jim:That was the name of the game?
T.C.:I think so.
Jim:Warriors and the misfits?
T.C.:I believe so.
Jim:Why am I continuing to look? I need to stop looking.
T.C.:There's like a thousand gangs in this movie, by the way.
Jim:Which I am all for. Again, I love them ensemble Mhmm. Groups.
T.C.:Having a brawl that then becomes just the two of them. I'm I think that is a more interesting way to go. Get back to Coney Island, thinking they're safe in their territory. Come out to play. Yay.
T.C.:Confrontation, fist to cuffs, let the fight lull, and then Swan saying one on one. This will determine it all. You can have our territory. The the fight ends. It's just the two of us.
T.C.:Because he does offer that, and then David Kelly's, come out to play, guy, just pulls the gun and says, fight's over. And then Swan tosses the knife and gets him in the hand. So I think just having a little bit of a brawl before that moment might be enough to feel like a satisfying film conclusion. It can still come down to just the two of them in a real quick
Jim:Right. And and if if I'm I'm probably remembering stuff wrong. Yeah. So you have they get home, and the thing is their home needs to be taken over by Cyrus's gang, right? Mhmm.
Jim:The basically, the the the overlords, the ones who kind of oversee all of the the the crime. So they'd be there along with the misfits, right, because the misfits have them on their side, so they're all they're all sniffling jerks.
T.C.:Big ass.
Jim:That, like, when they get home, that's when the overlord guys, this is just what I'm going to call them, they get the word that, oh, we now have proof that it wasn't the Warriors that did it. So they back out. But would they but wouldn't they then turn on the misfits right there? Why would they just leave them alone?
T.C.:Well, they they let they let Swan and the leader of the misfits have it out. And then once he's disarmed and he's bleeding, the the the overlords come up, and they they say, you're free to go. We'll take care of this. And then they beat the guy to death. So, like, taking him to task at the end still happens.
Jim:Yeah. And and it should I still think it should be something like that. Like like, I'm a scene that actually ends similarly that isn't, that I don't think is anticlimactic. Granted, it's not the whole movie. It's just that scene, but pulp fiction when
T.C.:Ving Ramses.
Jim:Bruce rescues Ving Ramses.
T.C.:Yes.
Jim:We don't see Zeke or Zed. We don't see Zed and his friend and the Gimp have medieval put upon them. But, but we know what's gonna happen. I'd like like I I think something like that is what Yeah. What should happen there.
T.C.:Having the the Warriors make it home, there's a there's are we safe? Boom. Fight like brawl. Get it just narrowed down to a street fight that comes down to just swan versus the leader of the of the fury no. No.
T.C.:Misfits. Yeah. Having them have a little bit of throw down beforehand, but then saying, Stop, fight, stop, fight. It's just the two and having the overlords there, maybe all the gangs there, like or if not all the games, but more gangs to, like, observe or, like, gladiator arena style. And
Jim:No. That that's too much to me.
T.C.:That's too much? Okay.
Jim:Yeah. Yeah. I see where you're going. That's Oh yeah. Okay.
Jim:So maybe the Overlords aren't there yet. So we have a confrontation between the Misfits and the Warriors. And while they're fighting, the Overlord dudes show up, start breaking up the fights so then it's just the the the two leaders still fighting. Mhmm. And then either
T.C.:Getting that that similar ending of like pulling that gun one more time.
Jim:And then and then so he pulls the gun. Do the overlord stop him from shooting?
T.C.:No. He shoots. He fires the gun.
Jim:He does fire?
T.C.:In the No. No.
Jim:I'm I'm saying in in hours.
T.C.:In this? Yeah. I suppose that's a a a good subversion of of an expectation based on the original
Jim:because then because then the misfit the the the leader of the misfits, he'd be like, what are you doing? What's happening? Like, he would think that they're there to back him up. And that's when they reveal, no. We figured out what happened here.
T.C.:Yeah. So you two you two have it out, and then Swan could have have him dead to rights and be like, he's I'm done. The fight's over. He's yours to do with as you please. You you enact justice.
T.C.:Just get out of our territory.
Jim:No. I okay. I see. Honestly, the, okay. So so that would be the the the they take away the gun, and then they'll let and then they say, so now you two finish it up.
T.C.:Go for it. Yeah.
Jim:And then
T.C.:having Swan take the moral high ground of of knowing he has this guy dead to rights, but not wanting to be a killer and just say, I win. Hey, overlords. He's yours now. Get out of my territory.
Jim:Yeah.
T.C.:And then
Jim:I they think to go along with that I think think each of the gangs should probably be good. Like, so sort of what you said, the the the more stylization. I think the Warriors, I think their thing, their stick would be that they're good at just fist fighting. They're good at fighting.
T.C.:Broad.
Jim:Not with weapons, not with any. In the Misfits, what they're good at is being sneaky. Yeah. They're they're they're they're and and so they thought it was gonna work right up until the end, and then their trick was was found and taken away.
T.C.:And, if we're assigning just gang qualifications here, then I think or qualifiers, I think the overlords is would be the most organized. Their leader literally was trying to organize the entire city, having that second in command stand there. Because when when they appear at the end, they're taking up the whole horizon. Yeah. The entire army, and they all walk forward together.
T.C.:And I think yeah. Okay. There we go. I think that that
Jim:So I think we both anal analyzed the Warriors and also then just said we would that's how we would make the movie as well. I it really it really does sound like it's we're we're just cleaning cleaning up cleaning the movie up.
T.C.:And that's fair. That that is perfectly I I'm excusing our us for what we've just done, but I think that is a legitimate way to remake a movie. Don't I this is more of a conversation about remakes and reboots, but don't remake a movie that's already great if you don't have anything new to add to it. So, like, taking the thing, which is a remake, John Carpenter's the thing Mhmm. Or reimagining of the thing and creating the the Kurt Russell, Keith David version that we got.
T.C.:Wilford Brimley's in there too. Right? Yep. Then in the, like, the mid knots to have a a prequel remake soft reboot of the thing with Mary Elizabeth Winstead and Joel Edgerton, they weren't saying anything new. They weren't offering us anything new.
T.C.:It was it was it was just remaking it to remake it.
Jim:Yeah. Was boy, this was a that was a good movie. Let's Just We we don't want to we don't wanna remake it. Well, see, I I think, like I actually strangely respect certain remakes like that. Like it's in my opinion, it's a way of acknowledging there's no way we could ever remake that movie as good as it was.
Jim:Right. There so so we're not gonna remake it. We're gonna make a movie around it.
T.C.:Well, that's fair. But this goes to the very impetus of what created this podcast to begin with, which is remaking Wrath of Khan poorly. Sure. Which gave us Star Trek Into Darkness. So I feel like there are countless movies such as The Warriors or even movies we've never we couldn't even name off the top of our head right now that do have something about them worth remaking.
T.C.:Sure. Don't but but then I know thinking like a studio, no one wants to remake a movie no one's heard of. Right? Yeah. No one no one wants to remake a movie no one's heard of.
T.C.:Instead, they wanna remake they wanna be able to sell the movie on the reboot, remake, reimagining of property. Yeah. Intellectual property. So I think finding a movie like The Warriors or, I don't know, like The Last Dragon. Finding something that is cult y and has name recognition, but isn't actually a cinematic masterpiece, and I'm not saying what we
Jim:would do. Yeah. Like like, if like, if you were to rerelease John Carpenter's The Thing into theaters, you would get a lot of sort of a huge nostalgia factor of people wanting to go see that. If you were to re release, I'm trying to think of another movie, they're
T.C.:all Critters.
Jim:Yeah. Critters. Honestly, you'll get a similar audience, but it will be much smaller.
T.C.:Yes. Yes. It's it's finding the I I I think finding the movies that are that do have some sort of name recognition, but you could enhance them in a way respectfully. It all comes down to who's doing it as well. Because honestly
Jim:It's really funny you bring up critters because I really think, like, like, for like, sort of the way you were saying this movie has been is is kind of dated. Yeah. Critter Critters is definitely dated. But, man, if that was remade and sort of like the the sequels, just by their nature of being sequels, there's just some there's just a certain
T.C.:I I I
Jim:there's just something to that that original Critters movie that's just that's just in an an un untouchable.
T.C.:Some some things
Jim:Some things gonna be the next demand then.
T.C.:Some things do stand as untouchable, unremakeable, un unrebootable. And I wonder now if we have done if we have been so egregious to think we could do it with the Warriors based on Julia's demand from, Pen Thief Pictures. And so I throw it to the audience to ask them, was this a bad idea? Was this a good idea? Or did we Well,
Jim:I mean,
T.C.:I it was it
Jim:was the demand. Right? So we we had to do it. And then I think I think the way we chose to do it, setting it in in when the original was set is better than doing a a modern version. Mhmm.
Jim:Just because I think you need way more conceits with a modern version.
T.C.:I concur. I concur.
Jim:And also, I've seen I I I mentioned I think I mentioned this to you off off podcast. I've seen movies that have tried to remake this, but, like, reskinned. I saw I I forget I forget what it was called. It was it was it was a ninja movie, and, like, ninja was in the title of the movie. It was like a a ninja
T.C.:Ninja Academy?
Jim:Ninja Ascendants or or some some dumb thing like that.
T.C.:But it was just the Warriors with nature.
Jim:It was literally the Warriors. Yeah. Bring nine men to the to the Ninja Clan meetup, and there's a guy named Ninja Cyrus who's going to unite all of the Ninja Clans to then take over all of
T.C.:Ninja New York.
Jim:Ninja New York. And Well Like like, it was it was beat for beat the same movie.
T.C.:But I think I wanna I think I wanna wrap the episode up here with with that said. I I like I liked the Warriors for what it was. I don't think it's something that I would recommend to everyone. It's something I'd only recommend to a very niche movie watcher. But I'm curious not just if we met Julia's demand over at Pencil Pusher Pictures or Pencil Pen Thief Pictures.
T.C.:I wanna know if anyone listening to this who hasn't seen the Warriors heard something that appealed to them. Right? Because I know we do episodes that are movies people haven't seen, and oftentimes, we get lucky and those people will listen regardless because thank you for wanting to hear us talk at you. I'm wondering if this sounds like a movie you you as a someone who isn't familiar with the Warriors would want to see. So I'm gonna throw that out there to to our listeners.
T.C.:And, Jim, do you feel any any questions or anything thoughts you wanna throw out at the listeners as well in regards to this remake?
Jim:I I I guess really really just the the the normal. Are are we are we on the money there? Is is what we described as is a cleaned up version of the Warriors something that would be interesting? I guess that question is more for the people who have seen it.
T.C.:Yeah. Yeah. And it does we do are verging in that territory just by the very nature of doing this, of offending people by suggesting we could how dare you remake a classic? But at the same time
Jim:Well, but, like, are are we doing it the right way? So example, Dawn of the Dead came out, like, well, not '79. They came out very, very close to the same time period, and that was remade in 2004. And on the the surface level, that was actually a really good remake. Sure.
Jim:We That's we could get in we could definitely get into What's we have gotten into how problems with it. Mhmm. But but overall, oh, okay. You you did it. You you you did a good job adding to the the zombie fad.
T.C.:You you done did it.
Jim:You you didn't you you didn't remake it in a way that was awful.
T.C.:And I think the the in in the wrong person's hands, I feel like the Warriors would be remade too funny, like go like, making fun of itself as opposed to taking itself seriously. Sure. It it's it's got all the benchmarks that you could come in, and the Lonely Island could make it and make something super goofy and spoofy out of it. And I don't want that. I wouldn't want that.
Jim:I kinda want that one in addition.
T.C.:Well, I I'm gonna wrap up the episode here and, again, ask what people thought of this, whatever. But let's do the quick social stuff here. You can find us at studiodemandsit.com where you can send us a demand. We're on Apple casts and Google Play. Keep an eye out for a an upcoming YouTube channel for the Studio Demands It.
Jim:Woo hoo.
T.C.:Just a little, teaser for you there. You can also find us on Twitter and Instagram and Facebook at Studio Demands It. Like, subscribe, get the word out, share if you feel like sharing, and and reviews in app on Apple Podcast is really cool and helpful for us even if it's if it's not the a glowing review. You can even just say, these are These are guys I listen to. To help grow the show grow the show's audience.
Jim:I have heard these sounds.
T.C.:I have heard this. You can find me at t c's big head on Twitter and Instagram, Jim.
Jim:I'm on Twitter with some Tubac wax on.
T.C.:Nice. Huge shout out to Six Five Media for giving us this platform. Please go check out everything Six Five Media is, creating, providing, some great stuff out there that I'm we're always, shouting from the rooftops to check out. But I believe that does it for this episode. Jim, thank you for for doing this once again.
Jim:Absolutely. Of course. Thank thank you for for having me all the time.
T.C.:All the time. We'll we'll be back again soon to challenge and improve the world of cinema, maybe? Possibly? Yeah?
Jim:Yes. Oh, yeah. Okay. Good. Every every time.
Jim:Yes, It's Yes. It's a no no question.
T.C.:Alright. Well, I'm T.C.
Jim:I'm Jim. What are what are you trying to do? This this isn't ending. We should have faded out by now.