The Big Issue : Edition 515
16 THE BIG ISSUE 1 – 14 JULY 2016 were rumours that a more traditional all-male version would also be made (with Channing Tatum as one of the stars). But, like so many other Ghostbusters ideas over the years, that seems to have fizzled out too, with studio Sony putting all their weight behind Feig’s version. In the end, putting the cast together was relatively straightforward. Both McCarthy and Wiig had worked with Feig before (most notably on Bridesmaids), while McKinnon and Jones are both cast members of long-running US sketch show Saturday Night Live. Since then the set has been kept low-key. Stay Puft Marshmallow Man, the classic monster from the first film, may or may not be back in some form. The iconic ghost (and star of the animated series) Slimer is probably in the mix somewhere. As in the first film, the team drive an old hearse, work out of a firehouse and have a sexy secretary (Liam Hemsworth). For much more than that we’ll have to wait and see. One thing we do know for sure is that it’s a remake, and Hollywood has been remaking movies almost as long as there have been movies. Even Alfred Hitchcock made two versions of The Man Who Knew Too Much, first in 1934 then in 1956. Today, with the costs of making and marketing blockbusters soaring, the appetite for risk when it comes to ideas has all but vanished. This year has seen sequels to Independence Day, Alice in Wonderland, Finding Nemo, Now You See Me, Teenage Mutant Ninja Turtles, My Big Fat Greek Wedding, Zoolander, horror hit The Conjuring and The X-Men. And sequels to Star Trek, Star Wars, The Bourne Identity and the Harry Potter films are due to land before the end of the year. Remakes? This year has already seen remakes of The Jungle Book and Point Break, with Ben-Hur and The Magnificent Seven up soon. So what’s the difference between a sequel and a remake? Aren’t they both basically the same movie made all over again? Not quite. Sequels tell roughly the same story with the same cast, usually come out relatively quickly after the original and, these days, are often sold as being part of an ongoing story, like Twilight or The Lord of the Rings. Remakes, on the other hand, tell roughly the same story but feature a different cast (cameos from the originals are useful, but not essential) and usually come out a long time after the original. But Hollywood’s motivation for the current wave of female comedy films isn’t based on a lofty aim to address the gender imbalance, as great as that would be. Rather, the studios have realised they can squeeze more out of tried and true comedy genres by gender-swapping the leads. Bridesmaids, which kicked off the current boom, was basically a bro-comedy with ladies. Feig’s follow-up with Melissa McCarthy, The Heat, was a buddy cop film á la 80s hits Lethal Weapon and 48 Hours, but with female cops. Even McCarthy’s most recent film with Feig was Spy, a spy movie parody/comedy – a genre Hollywood has been mining hard since the 60s. But the most compelling driving force behind current (LEFT TO RIGHT) THE NEWBIES: LESLIE JONES, MELISSA McCARTHY, KRISTEN WIIG, KATE McKINNON AND THE REJIGGED GHOSTBUSTERS-MOBILE.