Lower Your Concepts

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  • Lower Your Concepts

    Perusing through the threads here Iâ€TMve noticed
    a trend in these loglines. The concepts are
    too high.

    Yes, I know what youâ€TMre thinking, thatâ€TMs what
    Hâ€TMwood wants and thatâ€-s what you like. Besides,
    studios ainâ€TMt buying REBECCA OF SUNNYBROOK
    FARM knock-offs. True. But theyâ€TMre also not
    buying science fiction or fantasy either. Not
    from first time writers. Hell, theyâ€TMre NOT
    buying SF/Fantasy from ANY spec writers.

    Why?

    For one thing this genre is too expensive to
    produce and requires too much exposition
    for the audience. When considering SF/
    Fantasy, studios would prefer to buy
    properties with presold recognition to
    ensure a presold audience who doesnâ€TMt
    need a lot of exposition.

    Scripts taking place in the here and now
    that feature SF/Fantasy twists are also out
    of favor. But donâ€TMt believe me, just read the
    interviews with the writers on this site. Most
    of their stories are grounded in reality in the
    here and now.

    David H. Steinberg wrote a script called ALL
    EARS that had a fantasy twist. Didnâ€TMt sell.
    For his next script he decided to lower the
    concept and produce material in the here
    and now. His script, SLACKERS, sold easily.

    Hâ€TMwood needs marketable concepts but time
    travel, vampires, zombies, werewolves, space
    operas are easy (lazy) ideas that execs can
    come up with themselves and hire A-list
    writers to scribble.

    From spec writers, studios expect novel
    concepts that feel fresh but universal.
    Unique but generic. Something that might
    cause them to say, â€why hasnâ€TMt anyone
    done this before?†This is not easy when
    not resorting to SF/Fantasy spins and
    that's why scripts that nail it, sell.
    There are exceptions of course, but go
    check the database of sold specs.
    How many were SF/Fantasy versus lower
    concept, here and now scenarios?

    Another thing, H'wood wants scripts with
    themes. I admit, this for me was probably the
    hardest pill to swallow. Gulp.

    Y'see, most writers (guys) want to write
    ainâ€TMt-it-cool movies for ourselves and our
    buddies. PULP FICTION, TERMINATOR, THE
    MATRIX etc. Unfortunately, Hâ€TMwood wants
    warm (not cool) spec screenplays. So, you
    need to invest your cool genre script with
    warm, touchy feely emotions that will paint
    your story with a gild of universality and
    purpose (or weight), otherwise your script
    may not pass the smell test.

    Frequently, producers are submitted screenplays
    with great concepts, cool set pieces, and sharp
    dialogue but they will not hesitate to dismiss
    them as having no story if one of the characters
    doesnâ€TMt have a coming-of-age experience before
    page 120. (note: your script still must have a
    cool concept and be in one genre thatâ€TMs easily
    definable as either action, comedy, or thriller).

    On the flipside, many female writers invest too
    much emotion and focus on internal conflict
    rather than external friction. Every scene
    should be either an argument or one character
    trying to get something from the other during
    that particular scene. Find a concept for a movie
    your boyfriend/ husbandâ€TMs friends would go see
    (at least on date) e.g. INDECENT PROPOSAL,
    LEGALLY BLONDE, YOUâ€TMVE GOT MAIL. Not THE
    HOURS.

    For scribes who write ainâ€TMt-it-cool scripts, Iâ€TMd
    recommend trying to write a picture your motherâ€TMs
    friends and/or her female co-workers would enjoy.
    This is what Adam Herz did with AMERICAN PIE.
    He took PORKYS and gave it heart. Likewise,
    LETHAL WEAPON, presented a brooding, suicidal
    hero shook up after losing his wife. A long way
    from James Bond and RAMBO.

    It all starts with the idea, the concept, the
    premise, whatever you call it, itâ€TMs the most
    important part of the screenwriting process.

    Rx

  • #2
    There are exceptions of course, but go check the database of sold specs. How many were SF/Fantasy versus lower
    concept, here and now scenarios?
    60 scripts in the Done Deal current script sales list.

    Of those, 6 are spec sales (ouch already! lol)

    Of those,
    2 is supernatural
    1 is action
    3 is comedy

    So 1/3 of the specs sold have a fantastical element to them. That doesn't seem so unfeasible, Stiggers.

    GRANTED... both of those supernaturals are more horror/sixth sense style fantasy than swashbuckling (which never sells) or sci fi (which does sell, but less frequently).


    There were 2 sci fi and 4 fantasy scripts sold (10% of all scripts).

    So it's not impossible. Nor is it implausible. It's just LESS LIKELY.

    Comment


    • #3
      I should've cited the exception. Gothic
      horror is out but stories about ghosts continue
      to proliferate. A good ghost story still has a
      fighting chance but almost every buyer who
      wants one already has it.

      Rx

      Comment


      • #4
        Fair enough!

        Comment


        • #5
          You start out speaking about "high concept", but immediately start drawing all your examples from the realms of SciFi/Fantasy. These aren't really eqivalent, of course.

          And what about high concept comedies?
          --A lawyer is forced to speak the truth for 24 hours.
          --A political impersonator must step in for the real president.
          --A shallow individual suddenly sees the inner beauty of people in place of the physical?

          I wouldn't toss it aside just yet.

          Comment


          • #6
            Welcome to 2003! Everything is different - you'll be amazed! Cars are flying, black monoliths are found, politicians get honest... and no one drinks pepsi anymore.

            Sadly enough, Sabrina's still on TV.

            -----------------------------------------------------------------


            My dear Doctor, you definitely got a point regarding the Sci-Fi/Fantasy concepts. But some people have to write what manages to stick around in their minds.

            I, for one, can and will write something that is at least more sellable, but
            since I have decent job, I don't HAVE TO.

            Also consider that every script is a learning experience.








            Ok, Ok, truth is, I live in Lower Coccyx, so it doesn't matter anyway.


            BF

            Comment


            • #7
              Not sword and sandals

              And what about high concept comedies?
              --A lawyer is forced to speak the truth for 24 hours.
              --A political impersonator must step in for the real president.
              --A shallow individual suddenly sees the inner beauty of people in place of the physical?
              These are fantasies (except for number 2).
              This is the material that is hard to sell.
              LIAR, LIAR; SHALLOW HAL would be tough
              for first timers. David H. Steinberg's first
              spec was in the vein of LIAR, LIAR. Well
              written but the concept was too high.

              I don't agree with this ideal, I'm just passing
              on the info.

              Rx

              Comment


              • #8
                A producer that I deal with quite a bit told me that "high concept" is an easy pitch, but a hard sell.

                It's hard for a screenplay to live up to a high concept pitch or logline that everyone gets all juiced about. Because everyone immediately has their own concept about what the screenplay should include and if you didn't include their idea, then they're disappointed.

                But I definitely don't think that all high concepts are SF/Fantasy, just as I don't think that all SF/Fantasy screenplays are high concept.

                Just my 2 cents.
                8o
                Rite

                Comment


                • #9
                  Dclary

                  I've just check the current sales database and
                  I believe your numbers are off.

                  I count only four high concept projects.

                  Title: WXYZ
                  Log line: A late night talk show host at a small town
                  radio station encountrs supernatural warnings involving
                  a series of murders that he may or may not be
                  responsible for.
                  Writer: Andrew Klavan
                  Agent: Endeavor
                  Buyer: Warner Brothers
                  Price: n/a
                  Genre: Thriller
                  Logged: 12/30/02
                  More: Spec script. Joel Silver to produce.

                  [I'm guessing this deals with ghosts although
                  it's NOT referenced as a supernatural thriller so, I
                  could be wrong. Also, Klavan is a publish novelist
                  whose credits include DON'T SAY A WORD. Not
                  that that means anything]


                  Title: Blond Warrior
                  Log Line: Set in the mythical land of dragons and ogres,
                  an over-the-hill warrior leads a group of misfits into
                  battle with a horrible, yet stylish, giant in order to save
                  a beautiful princess.
                  Writer: Steve Rayvler Greenberg
                  Agent: n/a
                  Buyer: Rhythm & Hues Studios
                  Price: n/a
                  Genre: Fantasy Comedy
                  Logged: 12/11/02
                  More: This is the studio's first foray into in-house
                  live-action development.

                  [Is this a spec? Or an in-house pitch assigned
                  to a writer? When I don't see a price or source (spec
                  or pitch) I assume the project is an assignment. These
                  generally pay under six figures for new writers.]

                  Title: Sky High
                  Log Line: Centers on a high school for the kids of superheroes.
                  Writer: Paul Hernandez
                  Agent: Endeavor and Catch 23 Management
                  Buyer: Walt Disney Company
                  Price: n/a
                  Genre: Comedy
                  Logged: 12/10/02
                  More: Mike Mitchell to direct. Gunn Films'
                  Andrew Gunn to produce.

                  [This is the real thing, a high concept fantasy
                  that sold. But wait. Is it a spec or a pitch? One thing
                  I've learned about H'wood: sometimes producers or
                  studio execs will come up with an idea for a film and
                  invite a host of writers to pitch a take on it. Like
                  auditioning for a role. Then, when the producer finds
                  a point of view he likes, he hires the writer and sends
                  out a press release that NEVER mentions the idea
                  came from the producer (or studio). Why they put
                  on this charade is beyond me. Another thing, this
                  deal was packaged with a director. If it is a spec,
                  it's not a naked one. If only we all could get an
                  attachment before sending out our scripts.]

                  Title: John Doe
                  Log Line: As man who suffers from severe memory
                  loss tries to put his life back together, he realizes
                  that he also suddenly possesses superhuman powers.
                  Along his journey to discover his true identity, he
                  must avoid an assassin who knows his secret and
                  is determined to keep it hidden by any means
                  necessary.
                  Writer: Zak Penn
                  Agent: Endeavor
                  Buyer: Revolution Studios
                  Price: n/a
                  Genre: Sci-fi action
                  Logged: 12/5/02
                  More: Wesley Snipes will star. Zak Penn will
                  make his directorial debut. Paul Schiff will produce.

                  [Again, a package deal.]

                  Title: Code 46
                  Log Line: Set in the future, a man and woman have
                  an affair, then find they must go on the run when
                  authorities begin to hunt them down after
                  discovering that the woman was cloned using the
                  DNA from the man's mother.
                  Writer: Frank Cottrell Boyce
                  Agent: ICM
                  Buyer: United Artists
                  Price: n/a
                  Genre: Sci-fi romance
                  Logged: 12/6/02
                  More: Michael Winterbottom to direct.
                  Andrew Eaton to produce. Tim Robbins and
                  Samantha Morton to star in.

                  [Yet, another package deal. ]

                  So, you see how tough it is?

                  Rx

                  Comment


                  • #10
                    Stiggers...

                    No offense, but the:

                    "space operas are easy (lazy) ideas that execs can
                    come up with themselves and hire A-list
                    writers to scribble"

                    comment is offensive in my book. I've been working on one for thirteen years now and there is nothing lazy about it.

                    However, I do agree with you completely about it being IMPOSSIBLE to be the first sell. That is why I continue to write low range to medium range budget scripts. One will catch sooner or later. With a little luck, I hope to sell two to three of my aresenal when things get rolling. From there, I plan to producer my own comicbook, which will create a following... all wishful, but send me a prayer my peeps.

                    Comment


                    • #11
                      I think we have a problem in platform logic here; predicating our comments on different definitions of "high concept". Such discussions get confusing real fast, since we're working from different sets of premises. Evidently, "high concept" means something completely different to me than the definition I gleaned from Stiggers' initial post.

                      Perhaps Stiggers could define his terms.

                      Comment


                      • #12
                        Tends

                        It's crazy to write for trends. If you start a scripts today, it probably won't be ready to be sent out for at least one year, and by then, who knows what will be 'in' and what will be 'out'? It's a fickle world.
                        Also, when people say stuff like 'this will never sell', I always think of Shakespeare in Love. Who the heck would have thought that a movie about the BARD (of all people!) would be such a hit? Yea, I know... 'but it was a great script!'. That's the point. High concept or not, an idea is just an idea. It's what you make of it, that will either make your script sellable, or not.

                        Comment


                        • #13
                          Re: Tends

                          This thread could be very confusing.

                          High concept is a commercially viable, irresistible story idea.


                          Just because an idea is a fantasy, or science fiction one, does not make it a high concept.

                          Comment


                          • #14
                            Re: Tends

                            That was really interesting but---just write your frigging story. The one demanding to be written. Probably be the best script you're cabable of writing...the one that won't leave you alone.

                            When finished, if you think it's good, send it out into the world. The world will let you know if it agrees with your judgment and your timing is correct for current trends.

                            The above advice is from a drunk, novice screenwriter so disregard at will.

                            Write the frigging story.

                            Comment


                            • #15
                              Replies

                              The above advice is from a drunk, novice screenwriter so disregard at will. -AnconRanger
                              This over-the-top response is indicative of
                              why pros like ZOD and CE have abandoned
                              this site.

                              Last March I sold a script to an indiepro, no
                              big shakes, hasn't been reported in the trades
                              yet, but the check was big enough for me
                              to quit my day job.

                              I used to work at a major studio. A menial job
                              but I had access to executives, talked to
                              screenwriters and read unsolicited submissions
                              from all over the world (at least thirty percent
                              of the ideas involved cloning Jesus from the
                              Shroud of Turin).

                              The reason any pro comes to DD is to one,
                              procrastinate, and two, to earn what
                              economists call "psychic income" by helping
                              others without expecting financial remuneration.
                              All they want is a simple "thanks."

                              But I've seen enough on these boards to
                              know psychic income is a hard sell. It's like when
                              strangers come up to Steven Spielberg and
                              think they're going to impress him by
                              articulating why MINORITY REPORT fails as
                              movie. They honestly believe they're winning
                              brownie points by not kissing ass. Ironically, that
                              tactic doesn't work in real life and Spielberg or
                              any pro in the same position will simply despise you.

                              Believe me, I've made all the newbie mistakes and
                              I wish someone dished me practical advice from
                              the front lines. DD is good for that. But I guess some
                              folks enjoy flailing around using trial and error.
                              Not me.

                              ClockworkGrape (loved the handle) --

                              I wrote a space opera in 1990. Only year I
                              entered the Nicholl (what was I thinking?).
                              My argument was from a studio exec's
                              viewpoint. There are dozens and dozens
                              of award winning SF novels that could be
                              churned into killer movies but where are
                              they? Since STAR WARS in 1977, where are
                              the successful copycat space operas? When
                              THE MATRIX hit, I thought the studios would
                              snap up like-minded fare, after all, MATRIX
                              was an original script and not based on
                              material previously published. Didn't happen.
                              I've personally seen studio coverage rejecting
                              the hordes of MATRIX-esque scripts. Some of
                              them by veteran scribes. Instead, every studio
                              bought the rights to at least one obscure comic
                              book believing that covered the MATRIX
                              base. Why? They needed to see the story in
                              comic book form because SF exposition is deemed
                              difficult (even the writers of THE MATRIX had to
                              storyboard the entire film to firm the studio
                              commitment). Good luck, man.

                              GroundlingCom --

                              You're right, I should've defined high concept.
                              I'm talking about concepts that are too high.
                              Call 'em, high-high concept. The improbable
                              versus the impossible.

                              Example: Reese Witherspoon's character in
                              LEGALLY BLONDE getting into Harvard is
                              improbable but not impossible. However, if
                              she made a deal with the devil to get into
                              Harvard, well, that's impossible. H'wood doesn't
                              want that (today, anyway). Bombs like
                              BEDAZZLED, LITTLE NICKY, BLACK KNIGHT have
                              killed the market for these type of high-high
                              concepts.

                              The limit test is if it can happen in real life. If it
                              can't, forget it. This is true for the execution
                              as well. No sitcomy one-liners, no gross out
                              humor. H'wood has a stack of those scripts
                              collecting dust. Good luck, Groundling.

                              Folks, here's the type of comedy studios want: a
                              black woman and white woman have test tube babies
                              only to find out the tubes were accidentally
                              mixed up and they're pregnant with each other's
                              kid. Since neither trust the other to properly
                              care for the baby during gestation, they live
                              together and drive each other crazy.


                              Improbable but possible. Definitely high concept.

                              I know this because I asked film executives.

                              Recently, I wrote an action comedy that several
                              top film producers really enjoyed, took into
                              studios and asked them to buy it (one producer
                              went over the head of an exec and straight to
                              the president).

                              All the studios said no. I was dumbfounded. Why?
                              During my round of meet-and-greets I grilled execs.
                              I learned that over-the-top scripts are out. High-
                              high concepts are done. Sure, if you don't live in LA
                              and forecast that it'll be years before you're ready
                              for the show, go ahead and follow your bliss. Write
                              the frigging story as AnconRanger advises. It will be
                              a learning experience. But in my opinion, this is
                              misplaced earnestness. I agree one cannot force
                              themselves to follow trends, one cannot execute
                              ANY screenplay without passion. So, the question a
                              newbie scribe must answer, (and it's a tough one):
                              can I be passionate writing within the H'wood
                              parameters? If you can't, perhaps another means
                              of creative writing is the avenue you should pursue.
                              Movies ain't everything.

                              If you're writing because you want to be a
                              pro, ride the horse in the direction it's going. Why
                              spend all that time plotting and typing when the
                              idea isn't saleable? Hard lessons? Yes!

                              Here's a consensus of what've I recently learned
                              from H'wood execs...

                              In specs they're looking for material in one of three
                              genres: Action, Comedy, Thriller.

                              Other genres, Drama, SF, Historical are available
                              from previously published works. Genuine Horror
                              (gothic or slasher) is frowned upon because they're
                              difficult to set up with talent. No one wants to
                              helm or act in a potentially cheesy movie. This
                              is why this genre generally features no-name
                              teen casts. Ghost stories get a bye as they are
                              regarded euphemistically as psychological thrillers.

                              Comedy is preferred only because action and
                              thriller stories may be culled from other media.
                              Not true for laffers. There is no comedy section
                              in your local bookstore (the humor shelf is
                              generally comprised of newspaper comic
                              compilations and comedian routines inked on paper).

                              Of course there are exceptions. One of the producers
                              who liked my action comedy convinced his studio
                              to buy a time travel script. Out of the hundred or
                              so specs that sold in the same year, it was the
                              sole time travel script to go the distance. But execs
                              whine about receiving way too many time travel
                              submissions (BTW I love time travel stories). Glad
                              one made it, but...

                              I know if you have a high-high concept script, you
                              think you're going to be the exception, your scribble
                              will knock down doors, well, that's what I used to
                              think, too. Maybe you will. Finish the script. Make
                              it as good as it can be. Prove me wrong. But
                              if it doesn't go the distance, if it doesn't draw a
                              parade of admirers landing a ton of meetings,
                              what are you going to do next?

                              Rx

                              Comment

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