Choose one of your favourite scenes from any film or television series and approach it with the mind of a director. How would you mix things up, if you could re-do that same scene today? Think about the camera angles, audio, dialogue, music, colour grading, even the outcome and what happens in the scene itself. You can't change the overall plot of the whole film, but this is your opportunity to take a "what if?" approach to an individual scene.
Make sure you share a clip of the scene if you can find one, or if not, be explicitly clear about what happens in the original so we can be certain about what you're changing. 20 rewards of $3 apiece are available for the redirected scenes with the most detail and thinking behind them!
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The death of Charlie Harpes is surrounded by controversy involving actor Charlie Sheen, since he was paid millions and simply didn't (and still doesn't) get tired of being involved in controversies, leading the series to kill him off and replace him. What makes his farewell even more horrible is that his “death” was simply off-screen! The ninth season begins at his funeral and we are told what happened, as he died after being hit by a train. All the fans were shocked and didn't like it at all, degenerating into a sad end for the series. Here we reimagine the scene of his death and a possible “what if”.
Scene:
The scene begins as it originally did, at Charlie's funeral, where we see his bowling clothes hanging and the coffin closed. We see Alan talking, in his typical way of not knowing precisely what to say and ending up turning the funeral into a “roast” rather than necessarily paying his respects to his brother, we see all the characters, in mourning, making perplexed faces at Alan (just another ordinary day in the series) and gradually we hear light knocks on the coffin, the camera focuses on him and the sound of suspense rises, leading Alan to slowly move around and get close to opening it with great trepidation. Contrary to what everyone imagined, we only see Charlie lying still, as he should be, and this is the moment when Alan says “Uh, you almost scared me”, while holding the coffin lid ajar, then Charlie turns around and says “AND NOW I'M SUSPECTED?”, leading Alan to release the lid and hit his brother on the head, who faints. After all the confusion, we find Charlie and Alan on a sofa while Charlie, holding a bag of ice over his head, says, “How do you idiots think I'm dead and just throw me in a coffin without checking anything first?” And then we have another season beginning :).
In the transformation scene in Captain America: The First Avenger (2011), I think they did a great job raising the tension about whether he might survive or not. However, if I were directing it, I would incorporate more visual elements, similar to Spider-Man (2002). For example, I would include x-rays showing his blood vessels absorbing the substances, his muscles growing, and other biological changes that accompany the transformation
I tried to bring in the scene that specifically talks about pregnancy, but I think this one will do.
I'm a big fan of The Big Bang Theory and I've watched it over and over again haha. One thing that bothered me at the end of the series was when Penny gets pregnant and suddenly it seems like she always wanted it. For those of you who have watched it, you know very well that Penny made it clear that she had no desire to be a mother (I honestly preferred her and Leonard as friends). So I think the series could have worked more on that, on the discovery of the pregnancy and how the two of them dealt with the situation together, and even how the pregnancy unfolded, it would have been something very nice to watch. I thought it was a bit rushed, but I understand that it was due to the circumstances in which the series ended.
I would change Dumbledore's death scene to make it more faithful to the book, where Harry is immobilized by the older wizard under the Invisibility Cloak. The way Harry is forced to watch Dumbledore's last moments, unable to do anything, adds significantly to the sense of despair while preserving Harry's natural heroism. Hiding passively wasn’t true to his character.
In my version, Dumbledore would say "I'm sorry, Harry, but I’m an old piece of this puzzle, and my time has come" just before casting Petrificus Totalus on him. The rest of the scene would unfold from Harry’s limited perspective on the ground, only cutting away briefly to show Dumbledore’s fall.
I'll try to reimagine the walking scene of Detective Azuma from Violent Cop (1989).
The scene is fantastic on its own - a minimalist yet intense moment that’s often regarded as a masterclass in atmospheric buildup. However, I’ve always felt it could be amplified further.
Camera Angles While the second camera position, where the frame doesn’t fully capture Azuma, is excellent for evoking a sense of detachment, I’d add another angle between positions #1 and #2 (00:30 - 00:42). Specifically, a third-person view positioned about 1 meter behind Azuma. This angle would be slightly shaky to reflect his energetic and distinctive gait, giving the scene more dynamism and immersion.
Sound The sound design is already effective, but I’d enhance it with more pronounced urban ambient noise - faint street chatter, passing-by kids laughs, and muffled traffic sounds. These would heighten the realism. Then, I’d cut all ambient sound entirely as he enters the police station, creating a stark contrast and emphasizing the shift in tone.
In Jurassic Park 3, Alan Grant has a dream in which a velociraptor is calling his name: "Alan". Quite an odd scene that the audience does not want to see as it is awkward and humorous when it need not be in the movie in the first place. 😑
A much better version would be to put Grant on an island covered in fog, being attacked by raptors. He hears their growls and sees only shadows of the beasts as they stalk him. He ends up screaming and sweating after the sequence. By doing this, many of the suspense elements will be maintained, his depth will be advanced, and the audience will be prepared for what is about to come.
As a huge Mighty Morphin Power Rangers fan from being a kid, I was looking forward to the Netflix anniversary show - Mighty Morphin Power Rangers 'Once and Always'!
Now while it was a cheesfest throwback which I expected the scene which really let it down was the Megazord battle at the end, especially as we had been waiting the whole show to see them, it was lacklustre due to really poor CGI! The CGI Megazord was definitely the weak spot for sure.
My only real knit picky points are…
• No epic Mighty Morphin music theme when the Zord appears. So thats the first thing I would change, pull on that nostalgia even more!
• The CGI Megazord 🙈 the real nostalgia hit would have been the costume like in the OG show. But I get they were looking for more dynamic movement with the CGI, but they really could have pushed the boat out with the CGI and done more with it, as the move set displayed by the Megazord was super limited, therefore I would have choreographed a much more exciting moveset for the Zord to battle against the bag guy with! I cant stress just how bad the CGI looks, it looks like something from paw patrol or some kids show!
• Next I would have loved to have seen the Dragonzord show up for a cameo at the end, say the Megazord is struggling and needs some backup, just when all hope is lost, then bam, we hear someone playing the flute which is summoning the Dragon Zord to help turn the tide of battle!
The Zords are so iconic and such a huge part of MMPR so I feel they deserved better and this would have made it even more special for all those watching with rose tinted nostalgia glasses like myself!
I know you may say this is a kids show, but In my mind this show was made for all the Millennials that grew up watching the original Power Rangers!
We was very disappointed with this scene 🎬 of terminator dark fate that finally John Connor was “Terminated” by a terminator t-800 that look like Arnold Schwarzenegger and was the point that make the movie going down
What can l change in the movie .?
A scene that I will change from the movie is of course the scene where John Connor is killed in TERMINATOR DARK FATE
since he shouldn't have died in that movie, well in any if I could change that scene, I would put that Sarah Connor to makes friends with another family and that family has another child, that child is distantly similar to John and Sarah invites that child to eat ice cream together at one point
John Connor goes to the bathroom and his little friend stays with Sarah Connor eating ice cream who is the one who ends up accidentally killed by the terminator whom he mistakes for John Connor
and the movie should partly continue as if they didn't kill him and then reveal that the real John Connor was in the bathroom when that happened.
PLOT TWIST
for surprising To reveal in another scene almost halfway through the movie that the real John Connor was always alive and is the one who is going to lead the rebellion against the machines,
Bit would be a wonderful change that would have saved this movie.
I would choose this scene, the end of Lost in Translation by Sofia Coppola, is a very emotive scene where Bob says goodbye to Charlotte, but I wonder how this scene would be if the camera was fixed and with so much less angle change.
My idea wit it is to make a contrast where both, Bob and Charlotte would be still in the among all the people moving around, so we would have both starting still at the beginning with the camera distant from both, will stare how they are just two points in crowd, and will have cut and then we be seeing. most of their bust and now we will see their expressions better and it be very similar to the original scene with the only diference that they will have an blank expression a little longer to focuses on the time to process the Bob departure.
After that the camera will go back to the distant position where they are getting away from each other and then we the camera will focuses on the bob looking back and then he will start to cry and be more emotive and the same thing for Charlotte, and they will slowly walking in the opposite direction.
In the cab scene with bob I would take all the song in the scene and let just a small sound of the city and car and focusing in bob face looking thorough the window and I would finish with going beck to the distant scene looking again to the crowd now without the couple, and fading out to a black screen.
In the movie Lucy, the director did something confusing when he made the protagonist create a pendrive out of nowhere. It would have been a more interesting scene if she communicated in another way. Furthermore, she could have saved the scientists in the room with her mental power at 100%, using the technologies available in the room as something almost supernatural. After that, she could have communicated with the scientists in a more scientific and captivating way, just like in the movie Interstellar when Cooper speaks to Murph through Morse code.
As I'm very fond of the Star Wars movies, I would certainly redo the scene from Star Wars V - “I'm your father”. The scene is completely iconic for the franchise, but nowadays everyone sees that it could have been much better and not become the meme it has become...
In the original scene, Darth Vader reveals to Luke Skywalker that he is his father. The scene tried to be stark, using dramatic lighting, minimal music, and a focus on the raw, emotional dialogue. But even though they have ideas that work in movies, the whole of them in this scene left something to be desired.
So how would I do it differently?
I would make better use of the environment. The original setting is an enclosed space and a walkway over an abyss. It would be much better if we had an environment where the chaos was visible with a storm raging outside and that this chaotic atmosphere was increasing at the same time as Luke's world collapsed with the discovery of his real father.
The use of cameras could have been much better! In the original scene it is static and when it switches it is only to show the abyss. I would certainly use various functional techniques such as starting the scene with the focus on the characters' faces, but as the conversation progresses, moving the camera away and giving a greater idea of the instability that the scene is going through.
In addition, at the most crucial moment, when the famous phrase “I'm your father” is said, a slow zoom could be used with compressed space effects around it, to increase the weight of the speech and bring the viewer's attention to how impactful it is.
Immediately afterwards, in Luke's scene, as well as focusing on his facial expressions, the moment of the scream should be elevated with a camera positioned above and moving away, bringing out the abyss and giving an idea of the immense emptiness that Luke's life now meant to him!
In addition to the camera, the use of lights could have been better, we could see the lights of the sabers having greater reflections depending on who was on top in the battle, and showing a suffocating red at the end of the battle and beginning of the revelation scene to show Vader's physical and mental dominance at that moment!
I think the scene could also be improved by changing the lines, for example: Instead of Vader just saying “Search your feelings. You know that's true”, I would change it to ”You've always known. Why do you think you're so afraid of the dark?” This deepens the psychological manipulation, making Luke question himself even more and drown in confusion until the moment of revelation.
Anyway, I could spend hours talking about everything that I think would make this scene even greater, but I think I've said enough hahaha.
This is a very well-choreographed fight scene, but there's one thing that's always bothered me about it, and a couple things that I've more recently started to think I would do differently with it, so this challenge provides an opportunity to get into that.
The biggest single change I would make to this scene is having Neo use a wider variety of fighting styles. With a few exceptions the entire sequence has Neo using a very fluid, rotation-centric martial art similar to what you'd expect from Baguazhang. We know from the "I know kung fu" moment in the first movie that its possible in-universe to have any and all combat knowledge directly fed into your head within the Matrix, and at this point Neo is taking his role as The One very seriously, so it would make sense that he's picked up at least a small variety of styles. I wouldn't go so far as to have him constantly switching his technique with each strike, but there are several times either Neo or the henchmen pull back to reset the engagement, and that'd be an excellent time to change things up. For one clash he takes a very direct boxing approach, blowing through what his opponent's guard with straightforward punches. For another he just bypasses their attempt to defend and goes for a grappler-style takedown. I like the idea of him always returning to that base kung fu style; it makes for some good visuals and would be somewhat appropriate since it's the first martial art he 'learned' in the first movie.
A smaller change, but more directly relevant to the scene, comes when when he blocks a sword with the side of his had (about 1:33 in the video above) and we subsequently see that he's bleeding. Merovingian draws attention to the apparent flaw in Neo's otherwise perfect showing so far, but it ultimately doesn't affect the fight. I get that 'unstoppable badass,' can be a fun archetype, but I think it would be more interesting from a story perspective to have this be a noticeable (but brief) turning point in the fight where Neo loses the upper hand for a bit and has to go on the defensive. He doesn't have full mastery of his abilities yet, and this would be an excellent way to show that off. This change in which side has the momentum would also make a good place for the cutaway to Morpheus and Trinity's foot chase, like how in professional wrestling when they cut to a commercial mid-match and when they come back the other performer has the advantage. It would also provide a reason for him to start using some of the available weapons beyond just "It looks cool;" he'd been doing well, but he made a mistake and now has ground to make up and taking up the sais covers the disadvantage he'd been working around which is ultimately what led to that mistake.
The final and most minor adjustment I would make is what happens around the 2:40 mark in the video. In the original, Neo cartwheels from one side of the room to the other and picks up a new sword off the wall. Instead, I would have him during that transition, pick up the weapon from a fallen henchman, which in my mind serves two purposes. First, it removes the somewhat awkward interruption in the flow of the fight when Neo has to take his attention off his opponents to grab the sword. Instead he can carwheel over the railing to the main floor, grab the sword, let the momentum carry him to the opposite railing and use it as a springboard to confront the remaining henchmen, letting him maintain the initiative. And also, it alludes to the lobby scene from the first movie where Neo cartwheels across a gap between cover, picking up a gun from an already defeated enemy along the way and immediately putting it to use when he lands, which I think would be a fun callback.
I know those all seem like fairly minor changes, but I believe that they'd have a fairly positive impact on the scene as a whole. Besides, the Wachowskis (and Yuen Woo-ping, who was involved in the choreography and direction of the Matrix trilogy's fight scenes) did an excellent job with these movies, so it's not like I'd want to change things up too much!
A pivotal and memorable scene in the thriller drama about an aspiring Jazz drummer and an abuser conductor making us question whether meritocracy should come at any price.
In this scene it is shot very much to emphasise the drama and tension between the Fletcher trying to get the best performance from Neiman through very abusive tactics both verbal and physical. The often criticised yellow colouring also invokes the harsh lights of a stage but also that Neiman is Fletcher's target (spotlight) as he is performing on Fletcher's stage.
I'd make it more ambiguous. I'd soften the intense lighting whenever it switches to Neiman as if it is from Fletcher's POV to invoke a encouraging feeling but keep the intense lighting when it switches to Fletcher to highlight the fear Neiman gets from the abuse. I'd also add some POV shots from the musicians trying to hide from Fletcher's sight (maybe from the second drummer Tanner) as he doesn't want to face Fletcher's wrath
Anderton arrives in the empty hotel and finds Polaroids strewn about the bed. One photo in particular upsets him and he falls to the side of the bed in pain. We can't see the photo as he holds it to his face and traces the image with his finger. Agatha asks,
"What's wrong?" just as Crow enters the room. As Anderton rushes to his feet to grab Crow, hundreds of photos fall to the floor in front of Agatha. She reaches down and picks up one of a middle-aged woman lying dead below the surface of a lake. It is her mother! The same vision we've seen throughout the movie of the woman in the lake. Anderton has grabbed Crow and thrown him into the wall during this. He now has his gun out and pointed in Crow's face. Agatha yells, "Do it! Kill him!" Anderton is stunned by this: "What!?" Agatha is nearly hysterical with pain, the wrong man was put away for killing her mother! And this is the real killer. "He...he's the one...the one that murdered my mother!" Quick overlay of the previously seen vision.
Suddenly Anderton realizes what she is talking about, this man killed her mother AND his son. He knocks Crow against the wall as Crow denies everything. Anderton is standing there with the gun as Agatha urges him on. But something, his honor, his love for his son, something pulls him back from the edge, "I..I can't..." As the gun begins to drop, Agatha is fully raging by now,
"Then I will!' Anderton's arm goes back up, he tries desperately to stop it, but something is controlling it against his will. BAM! The gun goes off, Crow smashes through the window dead and Anderton is left standing stunned and confused. Agatha drops to the floor crying as the Pre-Crime agents burst through the door.
They arrest Anderton as he cries for his innocence. But he did everything they saw in the Pre-Cog vision, down to the last detail. "But I'm innocent!" He screams as they lead him away. The last scene is of Agatha lying in the Temple, staring into space. Fade to Black.
This entry actually goes all the way back to 2002 and Kevin Smith's website Movie Poop Shoot and a contest they held to re-engineer the ending to Minority Report. I won the contest and my ending was published on the site. I always felt that a real change to the character of Agatha was missed in the ending and she needed to turn from a passive character into a more involved character - I think the idea that the pre-cogs were more involved than we were led to believe wold have made for a more interesting narrative.
For this crucial part of the film and the plot I would have loved, just for the final part of the attack, a travelling shot from behind the X-wing completely silent with only a mixture of Luke and Darh Vader's breathing and, after the launch of the proton torpedoes into the reactor core, a long silent shot of the X-wing moving away and then, in the same sequence, several seconds with no apparent result of the attack, showing scenes of the rest of the protagonists with faces that everything has gone wrong and finally, after those anguished seconds, the Death Star exploding and the burst of celebration.
I would choose this scene but, instead of putting a lot of cameras around Neo, I would shoot it as POV, with 3D sounds for the bullets, to make more inmersive and realistic (all the realistic that this movie can be).
Father Beocca was not supposed to die for this epic show The Last Kingdom set in medieval England.
Uhtred's dishonorable cousin Wihtgar killed the kind-hearted Father Beocca and shot him in the heart with an arrow. He was a good priest and teacher of Uhtred.
He is truly a selfless character, and when he sacrifices himself to save Young Uhtred, there is a singular sense of injustice to his death. It's fitting that he died as he did, but heartbreaking is that he had to die before the right moment for Uhtred to retake Bebbanburg, he should have survived.
Father Beocca was supposed to survive until he blessed and crowned Uhtred of Bebbanburg.
Uhtred loses his father figure, who has always been there for him, has guided him, has fought with him, and has been his moral compass in many ways.
Reimagine the climactic baptism scene from The Godfather, the one where Michael consolidates power by orchestrating a series of assassinations while attending his nephew’s christening.
Instead of the church, the scene begins in a dimly lit private chapel at the Corleone estate. The baptism takes place in front of an ornately carved altar, its candles casting flickering shadows. The environment feels more intimate, almost claustrophobic, reflecting Michael’s growing isolation despite his apparent triumph. The priest speaks in Latin, his words carrying an ominous, ceremonial weight.
As the priest asks Michael to renounce Satan, the camera cuts to the unfolding murders, but this time, the focus is on the *quiet moments before* the violence. We see Clemenza in a stairwell, polishing his revolver while humming a hymn. Another assassin takes a drag from a cigarette, his face illuminated by the cherry-red glow. These quiet, humanizing details build tension before the brutal strikes.
When the murders begin, the violence is shown not in a frenzied montage, but through a series of long, unbroken shots. A hitman walks calmly into a barbershop, the clinking of scissors the only sound before the muffled gunshots. Another target is ambushed in his car, the sound of the rain on the windshield almost drowning out the sudden chaos. These lingering shots allow the audience to feel the weight of each killing, emphasizing Michael’s cold, calculating reach.
Throughout, the organ music in the chapel swells, blending with the sounds of the killings—a car horn blaring, a body falling into water, the distant wail of a child. As the ceremony ends, Michael rises to hold his godson. The camera lingers on his face, half-lit by candlelight, his expression inscrutable. In this moment, the audience is left to grapple with the duality of Michael’s role as a protector and a destroyer, his transformation into the head of the family complete but deeply unsettling.
This version deepens the moral complexity of the scene, making Michael’s ascent to power feel less like a triumph and more like a chilling descent into darkness.
one of the scenes that i want to change is in the movie the witch part 1, where gwi gong ja is killed by go ja yoon in that scene. and i will change the flow of the scene where gwi gong ja surrenders to go ja yoon, and will ally to fight the mad scientist doctor, and look for people who are the result of the doctor's practice.
