The myth of Robin Hood has existed since 1377. And whether it be via literature, artwork or live-action adaptations, the outlaw who robbed from the rich and gave to the poor became a larger than life figure. The upcoming 2018 reboot Robin Hood: Origins, courtesy of Lionsgate and Appian Way, will attempt to bring the character back into the mainstream. Having been left behind by fictional heroes from the Marvel and DC universes.
With Taron Egerton in the lead role alongside Jamie Foxx, Paul Anderson, Rogue One: A Star Wars Story star Ben Mendelsohn and reportedly Jamie Dornan of Fifty Shades of Grey fame, the ingredients are there to do more with the story than their modern counterparts. Following Russell Crowe's attempt in 2010 and Kevin Costner with his more romantic take via 1991's Robin Hood: Prince of Thieves, the new script from Joby Harold will be eagerly anticipated.
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Producer Basil Iwanyk explains that, in order for the character to give the story some gravitas and intensity in the cinema, the action sequences had to step up a gear. Where better to get a reference point from than a flick that will debut on February 10th. You guessed it -- John Wick: Chapter 2.
"The images of Robin Hood, the imagery we have, the production design, the stunt work that we’re doing—a lot of it was inspired by the John Wick stunt work," remarked Iwanyk. "The stuff we’re doing with the bow and arrow, it’s the same thing that Keanu does with the gun. The costumes, it just feels different than any other Robin Hood we had."
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Set many centuries before the idea of Post Traumatic Stress Disorder was ever a concept, the producer explained that Hood had his reasons for going rogue to rebel against the system - a theme that will be explored in depth for the reboot.
"Exempting the killer cast, I feel that it captures the adventure and the fun and the spirit of Robin Hood, but because it’s the origin story—it’s a kid going off to war thinking he’s going on a great Crusade, and realizing it’s all bulls*** and coming back with some PTSD and realizing he’s been lied to, and coming back to kind of a fractured society that doesn’t really accept him and realizing, ‘Okay the super rich are getting richer, and the poor are getting poorer.’ You could describe that now. What Joby Harold, our writer, was able to do is make it feel very allegorical and very contemporary, and feel youthful but not youthful in a YA way, youthful in a kind of, the anger, the energy, what people when they were 25 feel, without it being pandering like ‘Look, we’re the young version of the movie!’"