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10 THINGS I HATE ABOUT YOU, ADVENTURELAND, AMERICAN GRAFFITI, BETTER OFF DEAD, CLUELESS, DAZED AND CONFUSED, EASY A, FAST TIMES AT RIDGEMONT HIGH, FERRIS BUELLER'S DAY OFF, HEATHERS, MID 90s -

I have seen many teen comedies, and for every teen comedy film I have seen, I have read many, many, many teen comedy spec scripts. There is a reason for this: With rare exception, teen comedies are based on specs. And of those exceptions, the scripts are often adaptations of classic literature (an excellent example being 10 THINGS I HATE ABOUT YOU). Interestingly, teen comedies tend to be most successful when they fall into one of two opposed extremes: Either the dramedy that largely draws from true life experiences of the writer/filmmaker, or the hyper-artificial story that uses the tropes...

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10 THINGS I HATE ABOUT YOU, BACK TO THE FUTURE, CABIN IN THE WOODS, execution-driven, FLEABAG, high-concept, HOW TO LOSE A GUY IN 10 DAYS, NIGHTMARE ON ELM STREET PART VIII, PULP FICTION, SCREAM, SNATCH -

The definition of “high-concept” is nebulous. But it can often be described as a logline with which you get the idea at the pitch. For example, you have a sci-fi comedy about a guy who goes back through time and meets his mother; she’s way more into him than his actual dad, so our protagonist has to find a way for his parents to fall in love so he can exist. This is a huge high-concept, and the pitch is right there in the title: BACK TO THE FUTURE. High-concept is indestructible. Various writers can take various takes, and the...

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