 Hi, I'm Adam. Welcome to my TED Talk on how to properly reboot to franchise with the least amount of effort possible. We've all seen the hits and the wonders they can provide for studios, Jurassic World, Star Wars, Force Awakens, Ghostbusters, Afterlife, Halloween. I'm talking about the one from a few years ago, not the original Halloween or the Rob Zombie Halloween. Scream. Also, not the original or the TV series, but the new film coming out. Before this video concludes today, my goal is to convince you that anyone can make a Hollywood reboot. Let's get the short intro out of the way and begin. That was fast. Okay. I should also tell you to subscribe to this channel right here. I post videos constantly. Every day there's multiple videos coming out. There's also a notification bell somewhere to click so that these things show up right in your feed. With that, let's get started. I talked about some of the success stories going into this, but what makes them so special and unique? What drives people into those theaters? The truth may surprise you. Nothing. And that's the first and probably the biggest ingredient going into this mix. You want to make a movie that has almost nothing original about it. The Star Wars, Force Awakens, for instance, is the perfect playbook that all these movies should follow. You have a familiar setting with a desert-type planet, Tatooine. You have a protagonist that has a mysterious past. You have an evil emperor pulling the strings. You have his apprentice, a Darth Vader-ish type, but not Darth Vader. We're still going to respect what came before, but we have a new villain, and he looks very similar. Our protagonist will team up with a ragtag crew. They'll go on adventures together. The playbook's set in stone, folks. People have already done the hard work of setting up the script and the story structure and all the beats ahead of time. They did it back in the 70s. We just have to take it and throw some new shit on top, and we're good to go. At the end of the day, what we're doing with these properties is starting over, but we don't want the audience to necessarily know that. Sure, some will think in the back of their mind, hey, this is awfully familiar. It feels like they're kind of passing the torch here, and that's exactly what we're doing. We want to make it familiar, and we want people to think that this is a new chapter in an old trilogy when in actuality it's the same chapter in a new trilogy. Now, we are going to run into a problem with a lot of these properties where some of the original actors are a little too old and out of shape to perform anymore, or maybe they're dead. You know, these things are coming out from the 70s and 80s. Time has not been kind to a lot of these actors, so what do we do? How do we fix this? Well, we can CGI their dead-ass body, bring them back to life, Humpty Dumpty this shit, work for Ghostbusters Afterlife, it can work for your movie too. Hell, the actor could still be alive and just not what they used to be, so we can just deep fake their face, or do some sort of a body dysmorphia on the character, cut some of the fat off, just trim it down, get them in tip-top fighting shape again. Are we playing God a little bit with this stuff? Sure, I think so. Is it kind of in bad taste? Who cares? Grand Moth Targon's back, and he now looks like a Pixar character brought to life. What's really ingenious about this approach is it gets people arguing with each other, whether this is a good idea or not, and they're not really looking at the movie for what it is on its own, they're just trying to decide if this was worth doing at all, and that's really what we want. They're gonna see the film, they're gonna dissect it, they're gonna say, hey, there's nothing unique or original at all. And then the other side says, well, what do you expect them to do? This is what we wanted. It's brilliant. And it's nice because people's opinions are inconsistent, and it changes depending on the film property. I, for instance, really defended Forrest Awake in saying, sure, it's a new Hope 2.0. Sure, there's nothing very interesting going on in this movie, but they're building to something interesting, and then we see what happens when they have to try to do something new. It falls on its face, but as long as we can get to that second movie in a new trilogy, I think we're good. We have enough people on board, there's enough investment there where we can kind of screw the pooch going forward. Hey, look, we have some new lead protagonists in Jurassic World. They're not very likable, and most of them are just stock characters with no personalities, unlike Jurassic Park, which was chock-full, it was brimming, it was teeming with interesting fun characters. But we have dinosaurs, so screw it. We can just do Jurassic Park one again, but this time the park's open for a tiny bit of the film, so it's different. And uh-oh, we have to make another movie after this? Who cares? We'll just do the sequel to Jurassic Park again, but way worse somehow. Because it doesn't matter, we already have an audience. They love dinosaurs, they love Jedi. These are properties we know will already get a pretty solid return on investment just by naming a loan, just by the brand. So we make an unoriginal script that basically mirrors the first movie. We have callbacks to characters, or we bring these old-ass characters in for one last ride. The next thing we have to do is treat these characters with the utmost respect, by either killing them, or making their character do something completely not true to form. Look at Ghostbusters Afterlife, for instance. Very polarizing film, some of the fans love it, some of them absolutely hate it, some are just like, what the hell is this? How genius was it to make Egon Spangler a little bit of a ladies man after Ghostbusters 2? Very quickly, as a matter of fact. He had some sort of a love affair, got married, had kids, and then he ditched them all, became super serious and concerned about a ghost situation going on in the middle of the sticks, and then none of the Ghostbusters believe him. He steals their equipment and goes out there alone. I mean, wow. Takubota complete 180 from the first two movies that were just about kind of cartoonish characters who were joking it up while fighting ghosts, you know, you didn't have to really think about them, you didn't have to really dissect their character. What makes them tick? What keeps them up at night? No. That's what these new movies are for. I want to know if Egon cries himself to sleep at night, or if he's haunted by decisions of the past. I want Luke Skywalker to be super deep and complex and hate the Jedi now and not be that pie in the sky wonder because characters change over time. They need to grow and be angsty and angry with the property that came before, the property that we love and respect and admire so much that we're basically cloning, copying, making a repeat of, but we also want to shit on it all the same. And that's one of my other steps here. This is, I think, step three. Make sure to pay disrespect to the characters and the movies that came before. Since we have the rights to these amazing properties we don't give two shits about, we just want them for the money, we need to make sure to put music in there from those OG films and slow them down so that people know that this is a more touching version. It's very soft. It's paying its respects to the film that came out before. So maybe we take that theme song and we just sand it right down to its bones, just a couple keystrokes on the piano. Ding, ding, ding, ding. Then we bring up that Jurassic World logo. Ding, ding, ding. I realize my keys aren't, should be going up this way. My scales are all wrong. This touches people in the heart. They remember the nostalgia. They remember the magic. And they're gonna soon forget when they see the final product and see it's nothing more than a lifeless husk. That's just corporate branding, pining for your attention and your money. But we'll get them there. And that's the goal. We'll get them there. And that's a point that can't be stressed enough. We need references, constant callbacks, accidental Easter eggs, things that people will look at and maybe be able to mine some gems out of. Whoa, look at that shot from Rise of Skywalker. That was actually an issue 13 of the Star Wars Chronicles. That's not canon anymore. But Disney or J.J. Abrams or someone recognizes it and they're showing their respect. No, they're not. They don't have respect. They probably picked up a random issue and was like, oh, there's a dumb ass droid we can throw in for like a tip of the hat to five people that know. Look, there's that one-eyed ghost from the animated Ghostbusters series. Now I love this movie. Because these know what the fans want. Pointless callbacks. I'm a little loose on the villain. You can try to bring in a new one, but at the end of the day, we really have to go back to the tried and true. I mean, it's all going to go back to an Emperor or the T-Rex or Gozer. We really need to stick with what works and not try to think outside the box at all. I mentioned passing the torch briefly, but that's really what this is all going to boil down to. We need young blood that speaks to the new generation. We'll bring in the old timers already because we're going to cart out some of these 85-year-old bones and put them on display for one last ride, get them into the theater. We already kind of have them based on the nostalgia, the music, the look, the sound. They're invested. Let's get a Zendaya in there or a Tom Holland as the lead, and we have this whole thing wrapped up. Preferably we make the character related in some way via blood, via an adoption, via a child we didn't know about or a brother or relative that was never mentioned at all in any of the other films. Fast and the Furious 9 did this. Dom has a brother. A movie franchise that prides itself on being all about family, fails to mention that Dom has a brother. It's brilliant. We can do anything we want. No one cares. These movies are garbage. Yeah, people love them. And that's why this is such a great tactic. Give the people exactly what they want. And if you do something different, make sure you do it really piss poorly so that you make them mad so that they want to go back to what they already know. It's the playbook we have to stick with. Now, I know what some of you are thinking. Adam, it's easy to poke holes and dismiss films of this ilk. Why don't you give us examples of how it could work in a future movie? Then I'll maybe listen. Okay. Here's an example back to the future. We're bringing it back. Marty McFly has a daughter, Maggie McFly. She's going to be the protagonist. Marty's back very briefly. We know that that's not really possible due to the Parkinson's and whatnot. I don't really care. We have to get him in here somehow. Probably a deep fake. Well, Jay Fox can, you know, kind of just move around a little bit and we'll put some words. We'll just show the back of his head. We'll do the past the torch thing. We have to. Doc is in this as well. And thankfully, back to the future three, did the hard work for us. I mean, it's not hard. It's very easy to just give them siblings. But in this case, Doc already has a bunch of kids. They're also going to be leads here. So we got Maggie McFly. We got a reg tag group of scientists that are very quirky and different. They're going to be down. Maybe some of them are a little bit straight man. It's going to be great though. We're going to basically redo the same plot to the original film. We're even going to have them go to the same time and at the same exact location. We could have them run into Marty McFly and future Marty McFly. Oh my God. It's so good. It's going to be so great. Maggie's there interacting with her dad. Come on. Yeah. What's another one we could do? Goonies. They've been talking about making a sequel for a long time. No better than now, right? We have the technology. Josh Brolin's huge. We got Thanos in this again. Absolutely. Josh Brolin's going to take lead on this. We'll give a little callback to Chunk. But we got to have a female Chunk in this. We're going to have a young, thick actress who's not afraid to be a Meghan trainer. She's not afraid to show off her weight, Josh Brolin's the everyman who's got to deal with these whiny kids that are arguing. We're going to get some of the Stranger Things cast in here. It's going to be great. Now in this one, I kind of want to subvert expectations. We are, of course, going to have One-Eyed Willy back again. But we are going to make it look like it's a different adventure altogether. They're going to uncover things. They're going to go to different places. And then when we're in the last act of the film, it's all going to tie to One-Eyed Willy. It has to. We need that nostalgia in place. Someone's going to say, hey you guys. But it's not going to be like that. It's going to be like, hey, you guys. Or something a little off-key. It's going to be a wink, a tip of the hat. You know it. You know what we're doing here. We got to do Gremlins 3. This one we just call Gremlins. And it's going to be a black family for no reason at all. Other than to say, look, we're progressive. We got a different race in this. They're the lead. They're somewhat a soft reboot, but it's going to tie into the first, even though it's called Gremlins again. There is going to be some sort of a cross-contamination. Just because, why not? We want to confuse the audience, but let them know that we don't respect them all at the same time. Well, there you have it. The keys to the playbook for the perfect script. Guaranteed to make some money, guaranteed to get people in the seats, and guaranteed to be a safe, uninteresting film for the whole family. I like some biting sarcasm, and hopefully I see you around. Take care. Come to think of it, my viewers are pretty sharp. They might already have some great ideas for movie sequels slash reboots. I would love to hear what you come up with. I'd also love if you join me on Patreon at patreon.com slash adam does movies. This channel is a passion project for me. It's a one-man operation, and every dollar over there is a dollar that goes into my pocket to continuing this program. You can do the YouTube join as well. There's multiple options to support. I'd appreciate it. Thanks.