Well. Eh. To answer the question, Star Wars is the only movie I've ever explicitly wanted to see remade, but not because I'm aching for new Star Wars or carrying a little hate-on for George. I laugh along and poke fun at him with everyone else, but I'm not really outraged by the special editions or the prequels, just a little...you know, exhausted by it. (The closest he ever got to hurting my feelings, or anything that real, was Star Tours, and I'm over it. Whatever.)
It's mostly because of another thing, which is I wish the concept of "covers" was more prevalent in movies. I love cover songs, as a concept, and I often enjoy the covers as much as the originals. This has to do with the way I categorize songs in my head, which is not as a system of interlocked artists, albums, and songs - though I'm slightly obsessively interested in maintaining that so I can beat you at guess-that-artist in the car - but as executions of chord progressions and melodies and key changes. I'll hear a song and instantly make an empirical statement about it, if I like it. (Not the other way around; too many slow-burn songs have grown on me.) I heard "Say Yes," and said "that is a melody, yes please." Aside from the fact that Elliot Smith wrote it and sang it beautifully, it really has nothing to do with him. He found a device - a melody - that works like a fucking machine, it's perfect, it's a simple and elegant and timeless melody. And every time I hear someone sing it, in any style, even with varying degrees of technical ability, it does the same thing for me.
I feel that way about stories and settings, they're modular. To give an extreme example of what I'm saying, I wish the system in place would celebrate two directors coming out with the same movie in the same year.
Obviously that makes zero financial sense in this market, but I think everyone would learn a lot about how storytelling works, how films work, and especially how directors and actors work by doing it that way. (And something like it has been going on in the live theater world for ages.) And it would underline the great stories and sift through the original ones for new gems.
I don't know. I don't have a list of movies I think should be remade, I think there should be a massive list of movies being remade. The credit for The Wizard of Oz should remain in the hands of L. Frank Baum and the forty thousand people who directed it, just like the credit of Hallelujah stays with Leonard Cohen, but I don't quite understand the virtue of holding up a seventy year old piece of art and saying "this one will always be better." Obviously that's how it works now, but it's arbitrary. It's not that way with music, why is it with films?
Because it's good for you? Sure. I agree, having a broader sense of culture than current culture is an important value. But what's the virtue in making a kid watch The Wizard of Oz, if an equally engaging, modern version comes out? (Return to Oz is not a part of this or any conversation.) I dunno. I think if Pixar felt comfortable doing The Wizard of Oz, they'd do the shit out of it, and it'd result in a fantastic version of the story, with similarities and differences to the original film, but not necessarily any less enchanting.
I used Star Wars as my answer for the same reason I used Wizard of Oz as an example. In my head, the most immediately important thing would be not getting intimidated by the everlasting megahits, afraid to touch them, but to keep covering them. Keep them in the modern culture, not as modern things, but as timeless things that have existed in various forms for years, like stories, parables, songs, that sort of thing.
Why do we think of films as events in history, not as evolving pieces of culture? Why is it that in a hundred years, just like you need to be an art historian to fully appreciate Van Gogh, will you need to be a film historian to fully appreciate Star Wars? Come on, people, it's a great story, it'll work for centuries - it has worked for centuries - why do we give such a shit about the original? (As compared to the four remakes made in the following decades that I suppose should exist, not the special editions.) We don't give a shit about the original apple pie, or Hansel and Gretel, or Bible, or performance of the Star Spangled Banner.
And Footloose, definitely Footloose, that's a movie that will definitely resonate with kids today.
I have a tendency to fix your typos.