20 Movies That Were Almost Completely Different in Early Drafts

Some movies feel like they were born perfect, but the truth is, most go through a long journey before hitting the screen. Early drafts of scripts often bear little resemblance to the final product, shaped by rewrites, studio notes, and creative pivots.

Below, I’ll explore 20 films that started with wildly different ideas, characters, or endings. From bizarre plot twists to scrapped characters, these early drafts show how much a story can change on its way to becoming a classic.

Pretty Woman (1990)

‘Pretty Woman’ is a romantic comedy gem starring Julia Roberts as Vivian, a prostitute who wins Richard Gere’s heart. Its lighthearted charm made it a massive hit, but its first draft was far darker.

Originally titled ‘$3,000,’ it was a gritty drama about a drug-addicted prostitute’s doomed romance with a businessman. The ending was bleak, with no fairy-tale love. Disney’s rewrite softened it into the feel-good story I adore, but I wonder how that raw version would’ve landed.

Star Wars: Episode IV – A New Hope (1977)

‘Star Wars’ launched a cultural phenomenon with Luke Skywalker’s hero journey. George Lucas’s epic space opera felt timeless, but its early draft was a strange beast.

Luke was an older general, Han Solo had green skin and gills, and Darth Vader was just a bounty hunter. The plot was chaotic, with no clear Rebellion. Lucas’s revisions streamlined it into the saga I love, but that wild first draft lives on in a Dark Horse comic.

The Lion King (1994)

Disney’s ‘The Lion King’ is a heartfelt tale of Simba’s redemption, voiced by Matthew Broderick. Its Shakespearean vibes hooked me, but the original draft was a very different animal.

It was a war story between lions led by Simba and baboons led by Scar, with Rafiki as a neutral cheetah. Disney’s B-team reworked it into a family-friendly epic, and I’m glad they ditched the tribal warfare angle.

Back to the Future (1985)

‘Back to the Future’ is a time-travel classic with Michael J. Fox’s Marty McFly racing against the clock. Its charm lies in its tight plot, but the first draft was looser.

Marty was a video pirate aiming to cheat at gambling, and the time machine needed Coca-Cola to work. No fading siblings or iconic DeLorean existed. The final script’s urgency made it a hit, and I can’t imagine it any other way.

Alien³ (1992)

‘Alien 3’ continued Ripley’s fight against xenomorphs, but it wasn’t the strongest sequel. Still, I appreciated its grim tone, led by Sigourney Weaver.

Vincent Ward’s early draft had Ripley crash on a wooden planet run by monks, with a library chase scene. It was a bold religious horror idea, but studios scrapped it for a prison setting. I’m intrigued by what could’ve been with that surreal vision.

The Truman Show (1998)

‘The Truman Show’ is a heartfelt satire with Jim Carrey as Truman, a man unaware his life is a TV show. Its blend of comedy and pathos won me over.

The first draft, called ‘The Malcolm Show,’ was a dark sci-fi thriller inspired by a ‘Twilight Zone’ episode. With 24 rewrites, it became the warmer story I love, but that bleaker version sounds like a wild ride.

Toy Story (1995)

‘Toy Story’ revolutionized animation with Woody and Buzz’s rivalry-turned-friendship. Its heart and humor, voiced by Tom Hanks and Tim Allen, made it unforgettable.

Early drafts had Woody as a cruel dictator tormenting toys, even trying to kill Buzz. Disney pushed Pixar to soften him, and I’m grateful for the kinder Woody we got.

Watchmen (2009)

Zack Snyder’s ‘Watchmen’ brought Alan Moore’s comic to life with complex heroes like Rorschach, played by Jackie Earle Haley. Its dark tone gripped me.

Sam Hamm’s 1980s draft, set to be directed by Terry Gilliam, ended with a time paradox turning the heroes into comic characters. It was scrapped for Snyder’s closer adaptation, and I prefer the grounded final cut.

Spider-Man (2002)

Sam Raimi’s ‘Spider-Man’ defined superhero films with Tobey Maguire’s Peter Parker. Its emotional core and action thrilled me.

James Cameron’s earlier draft was darker, with explicit scenes and a grittier Peter. Sony pivoted to Raimi’s version, and I think the lighter tone better captured Spidey’s spirit.

Jaws (1975)

‘Jaws’ terrified me with its shark-hunting trio, led by Roy Scheider. Steven Spielberg’s tense thriller became a blockbuster benchmark.

An early draft by National Lampoon turned it into a comedy spoof. The serious rewrite kept the terror, and I’m relieved we didn’t get a sharky farce.

Indiana Jones and the Kingdom of the Crystal Skull (2008)

‘Indiana Jones and the Kingdom of the Crystal Skull’ brought back Harrison Ford’s Indy for a divisive adventure. I enjoyed its campy fun.

An early draft had a “nuke the fridge” time machine scene recycled from ‘Back to the Future.’ It was cut, but the final film still caught flak. I’m glad they toned down that absurdity.

Last Action Hero (1993)

‘Last Action Hero’ was a meta-action romp with Arnold Schwarzenegger poking fun at his image. I loved its playful vibe.

The original script was a sincere love letter to movies, but studio tweaks added fart jokes and chaos. It flopped, and I wish we’d seen that purer vision.

Con Air (1997)

‘Con Air’ is a wild action ride with Nicolas Cage as a parolee on a hijacked plane. Its over-the-top energy hooked me.

An early draft gave Cage’s character long hair and a Southern drawl, with a sports car on the plane. The rewrite streamlined it, and I prefer the leaner, crazier final cut.

Brainscan (1994)

‘Brainscan’ is a cult horror flick about a virtual reality game, starring Edward Furlong. Its creepy vibe stuck with me.

The first draft had the villain Trickster as just a voice, not T. Ryder Smith’s vivid character. Rewrites gave him more presence, and I think it made the film creepier.

Se7en (1995)

‘Se7en’ is a chilling thriller with Brad Pitt and Morgan Freeman hunting a serial killer. Its grim twists floored me.

An early draft included a trial for a side character, hinted at in the final cut. Rewrites focused on the main plot, and I’m glad they tightened it into a masterpiece.

The Matrix (1999)

‘The Matrix’ blew my mind with Keanu Reeves as Neo in a reality-bending sci-fi epic. Its sleek action defined a genre.

An early draft was less polished, with clunkier dialogue and a less clear world. The Wachowskis’ rewrites sharpened it, and I can’t imagine it without that clarity.

E.T. the Extra-Terrestrial (1982)

‘E.T.’ is a heartwarming Spielberg classic about a boy and his alien friend, played by Henry Thomas. It always makes me tear up.

An early draft leaned harder into sci-fi horror, with a darker tone. Rewrites emphasized the emotional bond, and I’m thankful for the gentler story we got.

Return of the Jedi (1983)

‘Return of the Jedi’ wrapped up the original ‘Star Wars’ trilogy with Luke facing the Emperor. Its epic battles thrilled me.

The first draft veered wildly halfway through, with bizarre subplots. Lucas streamlined it, and I’m glad we got the focused finale over that messy draft.

Monsters, Inc. (2001)

‘Monsters, Inc.’ charmed me with Sully and Mike, voiced by John Goodman and Billy Crystal, in a kid-friendly monster world.

The original draft had a human adult named Johnson and a different child character. Years of rewrites shaped Sully and Boo, and I love the final cozy vibe.

Sixteen Candles (1984)

‘Sixteen Candles’ is a John Hughes teen classic with Molly Ringwald’s Sam navigating her forgotten birthday. Its humor won me over.

An early draft revealed Sam’s exact birthday, September 15th, and had heavier drama. Rewrites leaned into comedy, and I think it nailed the teen experience.

Which movie’s early draft surprised you most, or is there another film with a wild original script I missed? Share your thoughts in the comments!