Dear Brad Copeland,

If you need a refresh: Flight of the Navigator Rave

Yes, Flight of the Navigator is undoubtedly 80’s. There are some surface elements that can afford to be upgraded, but there are also fundamental human elements that should be left alone. Here are some thoughts.

It is worth noting that the script is being written by Brad Copeland. He is most known for My Name is Earl as well as the movie Wild Hogs. I’ve seen only a couple of episodes of My Name is Earl, and from these select viewings I am filled with hope. However, Wild Hogs was a bummer – so, let’s just pretend that this hogwash of a movie doesn’t exist. Indeed. Let us cling tenaciously to the wit that abounds in the scripts of My Name is Earl and give hope that Copeland will be/currently is in this mindset when writing Flight of the Navigator. If nothing else, I’d like to hope that the charm, sincerity and all-out awesomeness of the original movie would be enough of an inspiration to come up with a stellar script.

It is my impression that the remake, if handled properly, could be, among other things, a crushingly amusing mirror of the fads, people, and events of today; a comedy of the present day, in a classical sense. Therefore, I deem it absolutely necessary that the remake keep the math that is utilized in the original: David loses eight years because of the effects of traveling near the speed of light. This is a significant amount of time in a young man’s life, as well as the course of events of this modern time in which we live.

Max, the droneship, may or may not need too much of a facelift. Its exterior’s sleek and aerodynamic design is pretty ubiquitous with what the general populous would imagine a small space craft would appear to be. As for the interior of the ship… Well, again, we’ll just have to trust the art director on this one. I honestly feel that nothing should change. It’s totally rad how all of the systems can be accessed, interfaced with, and emerge from within the seemingly empty silver interior. At the very least, give us the same slow panning shot of the initial glimpse of the interior that the original movie implements – gives me goosebumps every time I see it.

When performing the mind transfer to regain the lost star charts, Max also unwillingly collects David’s human memories. The Droneship’s vocal representation is then transformed from a stale, foreboding timbre to none other than Pee-Wee Herman’s characteristic lunacy. This can, without a single shred of doubt, be replaced in the remake. Napolean Dynamite, or something. Something. Anything. ANYTHING! But, remember, it’s gotta be topical to the first five years of the 21st century.

Dr. Faraday is the head NASA scientist who is most eager to learn from David and Max. In the original movie, this character is played Howard Hesseman – of TV’s “Head of The Class” program. I feel that it would be appropriate for Ed Harris to assume this roll in the remake; really, for no particular reason other than I kinda have a thing for Ed Harris. I dunno. Don’t judge me. Likewise, it would also create extra dimension of drama if Copeland created a 2nd in command to Faraday. This character should be played by Mike Rowe. And since the movie takes place in Florida, and it's hot in Florida, Mike Rowe should be without a shirt in every scene he's in. Don’t judge me.

And let us not forget the soundtrack. From what I’ve come to learn it is Alan Silvestri’s (Back to the Future, Predator – off the top of my head) first soundtrack created entirely in the digital realm. Such an approach was appropriate, and the proof is in the pudding. The soundtrack augments the atmosphere, drive, feeling of the movie. For the remake I foresee a match foretold in the stars: a collaboration between David Gilmour and Sounds From the Ground. The outcome of such a creative effort would yield nothing short of cosmic regality. A perfect sound for a worthy movie remake.

Aside from Silvestri’s music, there is a scene where David assumes manual control of the droneship. He instructs Max to scan the radio waves for some good tunes. After a few rejects they come to “I Get Around”, The Beach Boys’ epic tune that appropriately inspires David to activate the ships hyperockets and zip and zoom confidently through canyons and soar effortlessly through the endless sky. The moral during this brief scene is beyond words and tugs on my heart strings every time watch it. For the remake I would love to see this scene embellished and treated like a full-length music video. Throw in as much CGI as you people want; gimmie zoom shots; turn the inside of the droneship into a party. This is the apex of the story. Have fun with it.

But for all the giggles, laughs, and viewing comfort that could come from a cinematic facelift, I deem it absolutely crucial that the dramatic elements of FOTN remain untouched. David is 13 years old. He is the navigator. He knows where he wants to go, and it’s his choices, his decision-making, that may or may not get him there. Sometimes he makes wrong turns. Sometimes his emotions cloud his judgment. But the fact the he continues onward, unshaken, is a valuable life-lesson.

Flight of the Navigator is a wholesome tale of innocent wonder, coming of age, the desire to acquire knowledge, and familial love that crosses space and time. The ball is in your court Copeland, don’t screw it up.