For certain children of the ’90s (and no doubt a few begrudging adults), the name Robin Hood is forever synopsis with mullet haircuts, bad accents, and Bryan Adams’ rock balladry.

Like Bond, every generation has their Hood. In the early 1990s, director and star Kevins Reynolds and Costner all-but defined that generation’s notion of what and who Robin Hood was with their factually-questionable, heavily romantic Prince Of Thieves.

Before that, the ’20s had Douglas Fairbanks; in the ’30s and ’40s it was Errol Flynn robbing the rich; the ’70s boasted Disney’s fruity, foxy interpretation; and the ’80s earned themselves Michael Praed as their bow-and-arrow saviour.

Now, nigh on 20 years since Costner, Ridley Scott and Russell Crowe are wading in with their interpretation of the enduring myth.

But what began as a project that boasted something of a break in the myth’s seemingly straight-forward binary narrative (which generally reduced the entire legend to Good Hood fights Slimy Sheriff), has turned into a more traditional take on the tale.

Back in July 2007, Sir Scott told us: “The idea is to make the Sheriff of Nottingham a little less of the villain – to clean up the character a bit and make him more interesting.”

Fast forward almost three years, and his vision for the project has dramatically changed. Robin is once again the recognisable hero of yore, and Mark Strong’s Sir Godfrey seems to be the main antagonist instead of Nottingham’s seedy Sheriff.

So how did Scott’s revisionist take evolve into its present form? Let’s take a look...

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