SO YOU WANT TO WRITE A REMAKE...

Coming from me, this notion might come off as a tad hypocritical, since my previous screenwriting post lambasted unnecessary remakes of well-known properties, but anything is possible, and you can write a remake that does something new, all while respecting where it came from and what it can mean to people.

Of course, I recommend you first read my previous posts on screenwriting tidbits and adaptations, especially when it comes to the focus, the "core", and distinguishing your work visually and textually.

Here are a few important "cheats" to supplement those tips, especially when remaking another film and/or its screenplay.

GO FOR A MORE OBSCURE ORIGINAL

Years and years ago, I read in an Uncle John's Bathroom Reader (yes, really) that the best thing to do regarding remakes is to remake a bad film. Clearly, this has stuck with me (leaving aside where I read it), as this, combined with my tendency to go for the more obscure anyway, has led several of my remake screenplays to go this route.

Even if the film you want to remake isn't "bad" by any means, you can avoid considerable pressure, pop culture osmosis, and "chatter" by setting your sights on a film that has much good about it and much potential, but may have missed its due reception or failed in one or two aspects. Ideally for me, a good candidate is a film that has good things about it, but could use a new voice or updating to really bring it to its full story, thematic, and emotional potential.

I'm not sure if that was the line of thinking for this remake,

but it has Anne Baxter in it, so it can't be all bad.

CONVINCE YOUR AUDIENCE

Whether your audience is familiar with the original or not, your remake should have "something to say" to convince them why it should exist.

Is the original's "core" more relevant than ever? Is there a lot more to say about the story, genre, and how society views it now? Have things progressed to such a point that the original may be seen as dated or obsolete and you want to prove that notion wrong?

Is there a new emotional view you want to put forward, and bring new possibilities to a property that you feel really needs it? Do you want to build on what was there before?

Basically, your "something to say" shouldn't be exactly the same as the original's, because, well, the audience could easily just go back to it should your remake just present "more of the same" to them.

The 1932 Scarface's themes of greed, power, and the "rise and fall"

are translated through the 1983 remake against the backdrop of

the Miami drug trade, the "immigrant's American Dream", 

and the increased violence of the 80s "drug wars".

RESPECT THE ORIGINAL (AND ACKNOWLEDGE ITS SHORTCOMINGS)

Building on the above point, your remake should respect its past and where it came from. After all, that's likely the reason why it attracted you in the first place. And chances are, you've dissected the original to a considerable degree (I know I certainly do).

So you should decide, what works? What resonates? What is timeless? What is dated? What is racist/sexist/ageist/ableist/homophobic/classist in a way that's not framed as wrong? Should you keep it and frame it as wrong? Or cut it out entirely? Are characters too insensitive? Too weak? Unlikable to a modern audience? What new routes can your story and themes take by making your changes?

Remember, you can respect the original, while still acknowledging that it's not perfect. As long as at least some of the spirit that attracted you to it remains, you won't leave your audience with an empty feeling. Preserve what works from the original, and address what doesn't.

Above: Not an example.

MAKE IT STAND (AND STAND OUT) ON ITS OWN

Adapting a screenplay may look "easier" than adapting a book, novel, play, or article, and in many ways, it is. The previous screenplay may have done all the heavy lifting in bringing a source material from a vastly different medium to film. However, this can be a precarious trap, as that doesn't mean you as the screenwriter should be complacent in doing your work.

When in doubt, always assume the audience has seen the original, no matter how obscure it actually is. By keeping that in mind, you can make sure to avoid copying your original beat-by-beat.

While a modest hit, 1974's The Front Page was seen by many as an

unnecessary, "regressive" remake when set against 1940's 

His Girl Friday and that film's changes to the original 1928 play.

You may be a bit tied in having to preserve the original's story, but depending on the freedom you have, you can use the elements of context, subtext, irony, and others to breathe new life into your source material. You can update, combine, emphasize, de-emphasize, lampshade, etc. to your heart's content if you feel it will benefit your remake.

1978's Invasion of the Body Snatchers differentiates itself 

from the 1956 original by re-contextualizing its story 

against the backdrop of the "Me Decade", and the

ironies, contradictions, and dark sides therein.

With even a change in setting, you can introduce a whole new world of possibilities for your characters to inhabit, do, say, and represent. Visually speaking, go for what will represent your vision best over specifically what the original went for. Remakes and adaptations depend a lot more on an individual's vision than people think. Batman may be the quintessential dark superhero, but Tim Burton's visual style still makes his Batman movies stand out among the others.

Not to mention Anton Furst's first-rate production design.

This is your chance to still put some of yourself and your soul into a story, even if that story was created by someone else.

TIDBITS AND SUCH

Filmento has a great video on what makes a film impossible to remake.

Georg Rockall-Schmidt has an excellent video on getting remakes right.

The Closer Look covers The Predator and how not to reboot a movie.

Copyright © Chynna Moore