What if I sneezed really hard and the Universe exploded?
you are God and the event is the Big Bang.
but then, that story has already been told.
"Arguing that you don't care about the right to privacy b/c you have nothing to hide is no different than saying you don't care about free speech because you have nothing to say." -- Edward Snowden
I agree with this, and what Bono has written. Hook is more a term of art than a hard and fast definition in screenwriting. It can mean different things to different people depending largely on context. Having a great opening scene or sequence that establishes the situation/conflict and the main character is important. Having a concept/premise that makes someone want to read the script or watch the movie after hearing the logline is also important, probably more so.
A concept hook can be a couple different things. It could be an interesting character like superheroes or Fletcher form Liar Liar. It could be a combination of genres like Cowboys and Aliens or a romance played out during a disaster like Titanic. This all reminds me of the Rossio and Elliot column about the second concept on WordPlayer.com.
I agree with the last few posts. I always think of the hook as how the creative exec is going to pitch the script to get their boss to read it. The really quick, five second "you've got to read this script" pitch.
This movie has come up in another thread but I've always thought THE PURGE had one of the greatest concepts I've ever heard -- because it's so easy to understand and instantly visualize a movie. All crime is legal for one night. That's an easy pitch for a junior level exec to make to his boss. "You've got to read this great spec that just came in. It's a home invasion thriller that takes place on the one night a year where all crime is legal." That last part is the hook (or what I've personally always thought of as the hook) -- that special something that makes this script different and exciting.
Agreed. With that one sentence I want to read the whole thing.
The other thing, as a rep, they'll think "I can sell this without even reading it." And that might be exactly what they do. Something to consider: If a rep can sell your script without reading it, you've definitely got a HOOK.
Agreed. With that one sentence I want to read the whole thing.
The other thing, as a rep, they'll think "I can sell this without even reading it." And that might be exactly what they do. Something to consider: If a rep can sell your script without reading it, you've definitely got a HOOK.
Great point. I can't count the number of times I've pitched an idea that I'm excited about to my reps, to which they respond in some variation of "We know you could write the **** out of this, but we're not sure how to get people excited to read it." It's always a little heartbreaking.
Because of this, I feel like I've become conditioned to come up with a hook. I may be excited about something completely unrelated within the story, but I won't bring the idea to my reps until I've cracked whatever the element is that will get them as excited as me -- and it's most likely not the same element. Don't get me wrong, I get excited when I come up with a great hook -- but that excitement comes from the producer voice in my brain, not the writer voice.
I found this really frustrating at first but I know in the end it's a good thing. The goal is to sell the damn thing and people wanting to read it is a pretty big first step.
Great point. I can't count the number of times I've pitched an idea that I'm excited about to my reps, to which they respond in some variation of "We know you could write the **** out of this, but we're not sure how to get people excited to read it." It's always a little heartbreaking.
Because of this, I feel like I've become conditioned to come up with a hook. I may be excited about something completely unrelated within the story, but I won't bring the idea to my reps until I've cracked whatever the element is that will get them as excited as me -- and it's most likely not the same element. Don't get me wrong, I get excited when I come up with a great hook -- but that excitement comes from the producer voice in my brain, not the writer voice.
I found this really frustrating at first but I know in the end it's a good thing. The goal is to sell the damn thing and people wanting to read it is a pretty big first step.
Totally agreed! I had to recondition the way I look at concept as well.
so this isn't trailer moments where you have the most extreme, usually early 2nd Act moments, that demonstrate theme, but don't push the plot forward?
seems like if you took the introduction of the theme, like the first few pages, then reiteration of it more in act two with these over the top scenes...
in Basic Instinct, Joe introduces a dead rockstar and lavish lifestyle of the rich socialites and intrigued detective...
then into the 2nd act where Joe explores themes about normal people wishing they were part of the lavish lifestyle of the rich and how they'll turn a blind eye to crime ... there's also, the interrogation scene
Ricky Slade: Listen to me, I intentionally make this gun look that way because I am smart.
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