Blazing Saddles Is Being Remade as an Animated Samurai Movie About Cats and Dogs https://t.co/eD6pMvh4mX pic.twitter.com/vxG7S2ybNa
— Comic Book Resources (@CBR) August 8, 2020
One of the minor tragedies of the pandemic is that witless, exploitative crap gets dug out of the virtual garage and dumped on a desperate public.
I really thought this was a twitter joke, but no: Genuine Hollywood professionals took the money to make this into a movie, which sounds every bit as witty and attractive as a rubber dog turd. But at least you can scoop out the base of a rubber turd and use it for a key hider…
This was announced 3 years ago and this was the initial poster. LOOK AT IT. pic.twitter.com/wmYyNtZxhH
— your favorite little trash boy (@hottrashboy) August 8, 2020
Remember SNL’s Bad Idea Jeans?
Major Major Major Major
Yes this is bad, but now I want to see this.
Jim, Foolish Literalist
Does Mel Brooks know about this?
Sort of a reverse Seven Samurai/Magnificent Seven… but funny. And animated.
It’s not a BAD bad idea – I mean, I can see how someone could pitch it (I just did, in fact!).
But it’s one of those things that’s probably better in theory than practice.
ETA: It also sounds like the sort of thing someone would come up with after
a long nightthree months of self isolation spent smoking pot and watching old movies.
There has to be some French or German term for this.
@RandomMonster: trying out:
I think the french one is better.
The word is merdenfreude. That is also the term for the experience of the current administration.
Cathie from Canada
No, it can’t be. The universe is shattering as we speak. Will I never hear these lines again: “Mongo straight!” “The common clay of the old west. You know, morons” “The new sheriff is a n…” “Pardon me while I whip this out.” “Candygram for Mongo” “Where’s the white wymins at?” “Work work work” “We’re got to save our phony-baloney jobs, gentlemen!” And the beans campfire scene, the greatest scene in the history of movies!
Major Major Major Major
@CaseyL: Yeah, pretty much this.
No way, that weird-ass furry shit is meant for a convention of some sort.
They trippin’ on whatever the folks are trippin’ on these days.
@HumboldtBlue: I think you’ve just described the target audience and venue!
@Cathie from Canada: Wasn’t the phrase “Mongo butch!”?
If the Wikipedia article is to be believed, Mel Brooks plays a character in this.
Since Mel Brooks is one of those old-school comedians who never turns down a paycheck, this does not necessarily indicate an endorsement, mind you.
There’s a story told by someone with ties to the industry that for a long time after its success, he’d be in meetings where the pitch would begin “It’s like Die Hard but.”
“It’s like Die Hard but in a train station.”
“It’s like Die Hard but on an ocean liner.”
“It’s like Die Hard but in a theme park.”
He swears that after enough years had passed he was present when someone actually pitched:
“It’s like Die Hard but in an office building.”
Maybe it’s me who’s trippin’.
I know the idea is not the most original, but what matters is the quality of the execution. This looks like it’s from the people behind the Kung Fu Panda franchise; their depiction of Chinese culture felt very authentic to people on this side of the planet, and I’d expect much the same of their depiction of Japanese culture.
Just saw Idiocracy this week for the first time. Sounds familiar. Also reminds me that I knew the country was in for a rough ride when The Apprentice became a hit. By their amusements you shall know them.
It can’t be much worse than something like this.
It will flop. It will flop hard. And Cinema Snob’s review will be HILARIOUS!
Let us send good thoughts to Brad in advance.
Remains moderately surprising that Disney hasn’t bought Mel Brooks.
@NotMax: :( I was hoping for a link to Manos.
@Jim, Foolish Literalist: Mel Brooks is in this thing. along with Samuel L. Jackson, Ricky Gervais, Michele Yeoh, George Takei and I forget the rest of the people who I hope are getting paid very well for this.
In other bad news from the opposite direction:
English in fact.
I’ll watch anything with Michelle Yeoh in it, just for national pride.
? I’ll watch anything with Michelle Yeoh in it just for Michelle Yeoh.
@Poe Larity: wish i understood what the need was to redo this… the original and yes, even the dub, are simply awesome. What dipshit thought that this is what the audience was craving…. for fucks sake go pick a different property and try and do it right… cripes… for a small fee I will find something to develop.
(Crosses fingers) Will it be the crazy Banana Splits movie?
(Checks linky) Yeeeeeessssssssss!!!!!
One good thing about Lockdown was that I managed to stockpile enough cheap meth and low expectations to watch dreck and enjoy it. So guess what I’m watching tonight.
Has any of you seen this movie? No? I have. Stop already with your oh-so-snobby “reviews” of something that, in fact, turned out to be really good. YOU are the reason the people of the land hate the Dems.
No, I’m kidding. Pay actual money to see that? Not bleedin’ likely. And although I’m with Amir and Steep re: Michelle Yeoh, I limit it to movies where she actually appears, not her voice-only.
Okay, this is probably dead, but:
1) You can’t make Blazing Saddles again. It basically closed the vault door on the classic Western. Like all the best parodies, it had a target which was fresh, and followed the structure with its own twisted touches.
2) Everyone (on the right, or using nihilistic South-Park patented Bothsiderism) who complains “You couldn’t make Blazing Saddles today!” couldn’t come up with something as pointed and irreverent and punching-up as Blazing Saddles. They just want to make that “Don’t you realize the new sheriff is a nih-“? scene without any of its meaning.
3) We already have an animated movie touching on mixing cultures, law enforcement, and racism. It’s called Zootopia.
To be fair, I’m sure the pitch for Blazing Saddles (as well as most every Brooks film) sounded like a sure box office flop in the making when it was first spoken out loud. And it took a genuine ‘out of the box’ thinker with pitch perfect timing to make it work. But turning something on it’s head – making flops on purpose – was Brooks’ super power.
I too have my doubts about this being an actual ‘remake’ and suspect it’s probably a last ditch, desperate attempt to recoup sunk costs on a horrifically massive train wreck of a project. ‘Hey, let’s market it as a remake of XXXXX and get XXXXX to do a voice over – the audience will love it?”
Anyway I like to imagine Mel standing in some executive’s office back in the day pitching Saddles.
“Think High Noon meets In the Heat of the Night but with farting!
Why are there no original ideas anymore? Is it laziness or have all the good ideas been used up? //
Ceci n est pas mon nym
@artem1s: Thread probably dead, but my wife heard a related story from Mel himself about the release. They screened it for a bunch of suits: dead silence. No laughter. Smell of doom in the air. But then he got together a second screening of the working stiffs from the studio: Rolling on the floor, hysterical laughing. So it got its release.
@debbie: Corporate money and focus grouping. There are original ideas still, but you’ll not see them unless you go to the unpopular, no-audience places where you can find them.
This is one reason why Bandcamp is a big deal at the moment: it’s the compost pile where a lot of ideas get flung at the wall. Lots of them are bad and lots of them have low production values, but there are still places to find original stuff of any variety.
There have been times in history where the gatekeepers didn’t really know what was going on and realized they didn’t know, and then bankrolled various stuff, some of which turned out good and some of which didn’t. My pet genre, 70s progressive rock, is very much like that. The stuff that clicked got to blossom with huge budgets and production, for a while, and that’s what you see: what’s left standing after the wave passes.
Same with movies. Same with everything. There is no one place where you find original ideas (indeed, no idea is truly original) but they become celebrated when ‘the system’ is formally set up to take a chance on various losers in case any of ’em hit the jackpot.
In the modern day ‘the system’ really thinks it can predict and control all that, so no chances are taken. It’s that simple.
I’m fond of Patreon (and Bandcamp) as a system where you can scale up from whatever position you’re at. It might not make you rich and probably won’t, but it’s a little bit like the old ‘I don’t know. Sign ’em!’ system, where if you can get a bit of traction you can keep working.
I’m also fond of Patreon because they deplatform Nazis. I often see Nazis getting really REALLY mad at Patreon and expecting me to side with them over Patreon’s evil sins, and I’m like, heh. You do realize that you’re not the only one getting radicalized by all this? As far as I’m concerned Patreon makes the right enemies. Bring it. And no, I will not switch to SubscribeStar to please you, but I’ll be very polite as I tell you that you shouldn’t stay with a platform you don’t like.
I think the primary reason is laziness. Originality pays off far more, but it actually takes work. I’m so sick of retreads and recycled ideas. I can’t imagine how people will look back at this time (assuming they all haven’t been wiped out).
@Chris Johnson: I believe you’re much younger than some of us here, and I just want to say that I find your perspective interesting and often informative.
I could see this working if a Japanese studio were making it. You could lampoon the numerous Westerns which were made out of Japanese originals (Seven Samurai > The Magnificent Seven, Yojimbo > A Fistful of Dollars, Rashomon > many) while commenting on the fact that the only reason Blazing Saddles could work in a Japanese setting is that Japan has many of the same racial problems which made the film relevant in the US.
I don’t think it’ll work with an American studio behind this. The entire point of Blazing Saddles is that it dealt with American racism directly instead of using a foreign setting or even an alien setting to draw an analogy (the way Avatar does or the way many Star Trek episodes do). Setting the movie in Japan completely defangs it.
I see two major reasons. Both are shaped by movies being a gambling game with huge costs and huge potential rewards. One result of this is that the people doing the financing want, more than anything, to reduce risk. They want guaranteed rewards, even if those rewards are less. So, they keep digging up properties that did well the first time, figuring they may not hit it big but they can’t actually lose. (As Anderson has told us, this same thinking runs the insurance industry, where it’s less about squeezing out every penny as making sure they never have to pay big.) Second, high stakes randomness produces superstition. People guess all kinds of rules they think must be true, and cling to them desperately. Movie producers are incredibly superstitious, sure they know the secret formula of what the movie-going public wants. Shockingly, this tends to reflect their own personal biases.
Maybe I wasn’t sophisticated enough, but when I watched it, all I noticed was the cliched writing. It seemed like it was supposed to be a parody or satire, but also tried to take itself seriously. Things like the rifle going end-over-end, then caught by someone (maybe Scott Glenn? Can’t recall), stuff like that. It had a great cast, and Kasdan usually does a decent job, but still …
Maybe I should re-watch it, maybe I’ll appreciate it more.
There’s got to be a place between safe and risky. There’s got to be more people willing to nurture new ideas (Hamilton), or even new, inventive ways of looking at old things (Lion King).
My examples may be Broadway, but it’s true of every “creative” area. If I read one more dystopian novel by an author with a long reputation for writing excellent literary works (looking at you, McEwan), I may just stop reading altogether.
We should be more than lemmings.
J R in WV
@Cathie from Canada:
NO, no, the second greatest scene in the history of movies.
The greatest one was same folks doing “Young Frankenstein.”
The sweet couple, Young Dr Frankenstein (played by Gene Wilder) and his main squeeze, (played by Madeline Kahn), arrive at the castle’s front door, which has huge iron rings on each side of the double doors. Gene takes one look at the front doors and exclaims “My god, what Knockers!” and Madeline looks shyly down at her wonderful bosum and says “Why, thank you!”
Marty Feldman was Igor, the whole Mel Brooks team was there!
@Frankensteinbeck: The screenwriter William Goldman famously reduced the ways of Hollywood down to “No one knows anything.” The desire to reduce risk that you described is definitely one of the drivers behind remakes and sequels and extremely derivative works. The other thing is that nowadays (less so at the height of the studio system), most producers are not creative and have no ideas, but they have access to the capital needed to make a movie or series. Because they are incapable of coming up with something new, or recognizing the potential in something new pitched to them, they will gladly take an idea (or more accurately, the IP) behind something that was successful and which they already own, and redo it, usually in an inferior way, because it is simply what they have.
Ceci n est pas mon nym
@J R in WV: There have been a couple behind-the-scenes books about “Young Frankenstein” that I’ve read. As I recall, Gene Wilder was working on that script while filming “Blazing Saddles” (yes it was originally Wilder’s idea). And the casting came about because his agent called him up and asked him if he knew of anything that could involve Wilder and a couple of his other clients, Marty Feldman and Peter Boyle.
I’ve often thought how perfect the casting was for that movie, especially Boyle. I can’t even think about Boyle scenes from “Frankenstein” without laughing out loud.
@J R in WV: that was actually Teri Garr with the “why thank you line…” and both Ms. Garr and Ms. Kahn did get their “sweet mystery of life” moment later in the film…
I recently joked with a friend, who’s a bearded Jewish guy in his late 60s, that he’d auditioned to play one of the Mothra fairies in Roland Emmerich’s planned musical remake of Giant Monsters All-Out Attack. And this sounds worse than the awful project I imagined.