Travolta reportedly declined both American Gigolo and this role; Gere's subsequent career slump is placed against competition among leading men before Internal Affairs and Pretty Woman revived him. — Bill Simmons
Gere is preferred to Travolta because his mystery and harder edge make the breakdown believable; Travolta's sweetness and broader quality are considered less suitable. — Bill Simmons
An online claim that John Denver was offered Mayo is treated as a disastrous hypothetical and met with disbelief. — Bill Simmons
The rushed production reportedly allowed ten weeks of preparation and Costner only three days before shooting, with recasting, aircraft noise and approaching wet weather increasing pressure. — Bill Simmons
Reported test screenings favored Rickman so strongly that producers removed material and shut Reynolds out of editing; the extended cut retains additional sheriff-and-witch scenes.
The supposed need to protect Costner's star position is contrasted with later acceptance of Ledger dominating The Dark Knight and with Willis successfully sharing Die Hard with Rickman.
The special edition reportedly contains twelve additional minutes. — Bill Simmons
The characters’ songs reportedly use actual medieval melodies. — Bill Simmons
The arrow shot reportedly used 300 framespersecond rather than the normal 24. — Bill Simmons
Some VHS releases reportedly shortened the attempted rape after complaints. — Bill Simmons
A claim that Costner became an Arsenal supporter during filming is mentioned with skepticism. — Bill Simmons
A quoted Reddit argument says medieval nobles and commoners would not sound like modern English speakers, offered as an accidental defense of Costner; the counterpoint is that his inconsistency was not a deliberate historical choice. — Chris Ryan
Val Kilmer is proposed as Robin for greater accent commitment, with objections that his striking looks and method approach might be excessive.
Hugh Grant is proposed for Robin's privileged arrogance and ability to face Rickman, but the group doubts the movie would have been a comparable hit without Costner's star power.
The claim that Johnny Depp declined Will Scarlet is explicitly doubted, though he is imagined as a better choice. — Bill Simmons
John Cleese was reportedly proposed as King Richard before Costner pushed for Connery, whose fee was described as reduced to a charitable donation. — Bill Simmons
The sheriff's attempted rape of Marian is judged badly aged, especially its comic staging and length in a PG-13 adventure; the intended bloodline motivation does not excuse the tonal problem. — Bill Simmons
Costner's hair and appearance are criticized; reports of disagreement over whether to use an accent are offered to explain its inconsistency. — Bill Simmons
The nude swimming double is discussed as visibly different, with cold-water protection reported as the reason and additional joking speculation.
A wish for a more attractive Little John's wife is challenged by the medieval forest setting and her many children; LeBrock and Helen Mirren are hypothetical alternatives. — Bill Simmons
The competing Robin Hood film is an aged-worst observation, with its reported gross contrasted with this hit. — Bill Simmons
Slater is considered wasted as a resentful Will Scarlet; his charming ad-lib at the end suggests a livelier role, while his career stage offers a possible reason for accepting it.
The lack of communication before Robin returns to discover his father's death is joked about as life before postal service.
Stars in obviously artificial wigs and beards are praised. — Bill Simmons
Men in Tights is praised as a response to this film and explicitly proposed as a double feature. — Bill Simmons
The sheriff's spoon threat and scheduling two women are praised as reportedly improvised lines. — Bill Simmons
Physical outdoor filmmaking despite imperfect effects is praised, including Costner actually wet on the beach rather than a wholly digital setting.
Morgan Creek’s run is praised through Young Guns, Major League, Young Guns II, The Exorcist III, Pacific Heights, Robin Hood, Freejack, The Last of the Mohicans, True Romance, Ace Ventura and Major League II; the titles form an unranked list. — Bill Simmons
The final matched confrontations—Azeem and witch, Friar Tuck and bishop, Robin and sheriff—are praised for symmetry. — Chris Ryan
Little John accepting Robin as leader after losing the fight is praised as a welcome respect-based friendship dynamic. — Chris Ryan
Preparing weapons, traps and the elaborate forest hideout are praised as satisfying training-and-building montage material. — Chris Ryan
Costner riding horses is an aged-best choice, linked to his recurring screen persona. — Van Lathan
Robbing the rich is an aged-best choice. — Van Lathan
Introducing people by first name and hometown is praised, inspiring playful podcast equivalents.
The statement that nobility is defined by actions rather than birth is praised. — Van Lathan
The brothers reveal is considered both good and bad because of Costner’s delivery. — Bill Simmons
Azeem’s comparison of English hospitality with the weather is praised.
The catapult launch over the wall is praised as enjoyable old-school effects, with a wish for more swashbuckling action. — Bill Simmons
The omitted third-act category is reconsidered: Costner is not judged to have a full meltdown, but the final minutes and abrupt moral compromise feel strained; period corniness and the thin wife role are acknowledged.
Connery receives the first choice, while Costner is favored for proving his leading-man credentials and unlocking his next decade. — Bill Simmons
Connery’s magnetism in a supporting role is defended; the tiebreaking choice is Connery because the performance creates interest in seeing more of the actor.
Connery, Costner and Mamet are considered; Costner is judged unlikely to beat the year’s lead-actor field, and Brooks remains an objection to Connery. The music suggestion receives agreement. — Bill Simmons
