What are your "Do's" and "Don't's" for Indy 5?

Raiders90

Well-known member
What are a list of things you do, and don't want to see in Indy 5?

Myself:

1) Harrison must have at least 50-60% of the screentime. I don't care if they introduce a young Indy whose story is running parallel to Harrison's. But Harrison must be given a dignified last hurrah - not made the butt of age jokes as in the last movie. Even if they have to use a stuntman, let Harry's Indy engage in some action. Include gun and whip play by Harrison's Indy - both of these were sorely missing from KOTCS.

2) Don't kill Harrison's Indy off.

3) Don't have Harrison's Indy accompanied by a young sidekick who does most of the dirty work. Don't have Indy drink from the Fountain of Youth. I have no interest in Indy movies set in the '80s and '90s.

4) No Chris Pratt, PLEASE, for the love of God, any actor besides Pratt.

5) Do not set the film any later than 1969.

6) Bring back Sallah even if it's just in a small cameo.

7) Do NOT retcon any of the other movies, or the YIJC out of continuity.

8) Try to bring Indy - both Harrison's Indy and a younger Indy - back to his anti-hero roots.
 

Raiders90

Well-known member
Randy_Flagg said:
ANY actor? Okay, fine... Kevin James is your new Indiana Jones. Happy?;)

You know what I meant. In my book, Pratt is basically a skinny version of Seth Rogen. He'd make a great recast of Branden Fraiser's Rick O'Connell. NOT Indy.
 

Walecs

Active member
indy4242 said:
Do: Have Indy use his gun.

As I watched Temple of Doom last night I thought the same.

1) Harrison Ford should have 100% screentime.
2) I don't want old movies, Young Indiana Jones tv show or the novels to be retconned.
3) If the movie is set after KOTCS, Marion should make at least a small cameo. I don't want her to be ignored or them to be divorced.
 

Udvarnoky

Well-known member
Do:
<s>-Hire a new screenwriter.</s>
-Go exclusively for fresh faces with the sidekicks and villains.
-Keep Indy out of America, if not the entire western hemisphere.
-Film on location where it would improve the film's sense of scope.
-Make Indy's proximity to the grave a thematic hook, and tie his mortality in with the artifact.
-Design the story as Indy's last hurrah.
-Generate an earned sense of awe and intrigue.
-Bring back sadistic bad guys.
-Bring back a sense of danger and spookiness where appropriate.
-Bring back the cliffhangers.
-Bring back the scenarios of Indy having to get out of an impossible jam by doing something clever or desperate.
-Let Indy be proactive when he has a clear opportunity to be so.
-Have a new Indy Girl despite Indy being married. Let the lack of romantic potential be an opportunity to put a new spin on the concept.
-Throw in a single line that comically explains away Indy's Marshall College/Barnett College flip-flop for the benefit of Raveners.
-Have Indy lose an eye by the end.

Don't:
-Introduce subplots that you have no intention of paying off.
-Introduce characters you have no use for.
-Introduce a badass vehicle attached to spinning blades that you're going to immediately discard.
-Have Indy willfully helping the villain the whole way through.
-Overly complicate Indy's motivations for embarking on the adventure.
-Use a promotional still for the portrait of a dead character.
-Retcon backstories for the sake of it.
-Cut from the teaser to the establishing shot of the college. Remember we're not in America this time.
-Reprise a musical cue from a different movie to cheaply evoke feelings your own story failed to elicit.
-Allow Kaminski to do whatever he did to make the fourth move look like that.
-Destroy any sense of immediacy that your real stunts and locations might well have created before the unnecessary CGI in combination with the above conspired to make it all look like green screen work.
-Give any other character the equivalent of Ford's screentime. This is his finale.
-Feel obligated to sum up the culture of the decade the story takes place in.
-Reprise Mutt or Marion. Acknowledge them and let us know that Indy is happy with his family, but nothing more is required because after all, he's not in America this time.
-Give your characters awareness that they're in a movie and protected by plot armor by having them gleefully drive off cliffs.
-Castrate your lead villain by having him or her stand there and watch patiently as their captives finish quipping at each other.
-Just let things resolve on their own when there's an opportunity for the characters to work for it.
-Spend any amount of time setting up the reboot. Let the reboot handle the reboot, and make the fifth movie the final adventure of Harrison Ford as Indiana Jones. No cross-pollination.
 

Pale Horse

Moderator
Staff member
Do bring back this:
2a567d0841bd3dd8f64fd24d6f9031b5.jpg


and this:
file_569935_raiders-of-the-lost-ark-8.jpg


and this:
indianajonestempleofdoom5.jpg


and so much less of this:
indy-4.png
 

DOOMSTOWNFRIDGE

New member
indy-4-hat-shadow.jpg
@PaleHorse ;)

no Marcus Brody subsitute,More Sallah!!!! More Nazi's! No family sideshow, no stupid Spielberg throwback scenes (Mutt on motorcycle/vines),No Karen Allen,More Cairo! more Harry Beard! :D
 

Pale Horse

Moderator
Staff member
The juxtaposition of the shadow against character separates the first three from your example. There's no person to personify the shadow in your example. It's a subtle difference that's very powerful to the unconscious connection you feel to the character. Without a body to oppose, the shadow is just that.
 

Raiders90

Well-known member
Pale Horse said:
The juxtaposition of the shadow against character separates the first three from your example. There's no person to personify the shadow in your example. It's a subtle difference that's very powerful to the unconscious connection you feel to the character. Without a body to oppose, the shadow is just that.

I thought the image of Indy's silhouette against that of the mushroom cloud in Nuketown was very powerful. It wasn't a shadow, but for me it had the same effect. Indy in a new and one might say alien era.

Screen+shot+2012-04-02+at+8.37.44+PM.jpg
 

Pale Horse

Moderator
Staff member
You're missing the juxtaposition of the human element, that's key to the character. It's one of the flaws of KotCS and it can be represented in the simple lighting of the subjects.
 

Randy_Flagg

Well-known member
Udvarnoky said:
Do:
<s>-Hire a new screenwriter.</s>
-Go exclusively for fresh faces with the sidekicks and villains.
-Keep Indy out of America, if not the entire western hemisphere.
-Film on location where it would improve the film's sense of scope.
-Make Indy's proximity to the grave a thematic hook, and tie his mortality in with the artifact.
-Design the story as Indy's last hurrah.
-Generate an earned sense of awe and intrigue.
-Bring back sadistic bad guys.
-Bring back a sense of danger and spookiness where appropriate.
-Bring back the cliffhangers.
-Bring back the scenarios of Indy having to get out of an impossible jam by doing something clever or desperate.
-Let Indy be proactive when he has a clear opportunity to be so.
-Have a new Indy Girl despite Indy being married. Let the lack of romantic potential be an opportunity to put a new spin on the concept.
-Throw in a single line that comically explains away Indy's Marshall College/Barnett College flip-flop for the benefit of Raveners.
-Have Indy lose an eye by the end.

Don't:
-Introduce subplots that you have no intention of paying off.
-Introduce characters you have no use for.
-Introduce a badass vehicle attached to spinning blades that you're going to immediately discard.
-Have Indy willfully helping the villain the whole way through.
-Overly complicate Indy's motivations for embarking on the adventure.
-Use a promotional still for the portrait of a dead character.
-Retcon backstories for the sake of it.
-Cut from the teaser to the establishing shot of the college. Remember we're not in America this time.
-Reprise a musical cue from a different movie to cheaply evoke feelings your own story failed to elicit.
-Allow Kaminski to do whatever he did to make the fourth move look like that.
-Destroy any sense of immediacy that your real stunts and locations might well have created before the unnecessary CGI in combination with the above conspired to make it all look like green screen work.
-Give any other character the equivalent of Ford's screentime. This is his finale.
-Feel obligated to sum up the culture of the decade the story takes place in.
-Reprise Mutt or Marion. Acknowledge them and let us know that Indy is happy with his family, but nothing more is required because after all, he's not in America this time.
-Give your characters awareness that they're in a movie and protected by plot armor by having them gleefully drive off cliffs.
-Castrate your lead villain by having him or her stand there and watch patiently as their captives finish quipping at each other.
-Just let things resolve on their own when there's an opportunity for the characters to work for it.
-Spend any amount of time setting up the reboot. Let the reboot handle the reboot, and make the fifth movie the final adventure of Harrison Ford as Indiana Jones. No cross-pollination.

Excellent. Can we mail this Steven and Koepp?
 

Joe Brody

Well-known member
I endorse the following posts: ##'s 1, 3, 4, 8, 11, and (doubly) 14 (I feel like Jack Nicholson's Joker: "Where does he get such wonderful gif's?).
 

Henry Jones VII

Active member
Do:

- Film in real locations;
- More similar to original trilogy in terms of cinematography;

Don't:

- Use too much cgi;
- Crowd the movie with too many sidekicks;
 
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