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ON SUBVERSION

ON SUBVERSION

Like many industries, film (and scripts by extension) runs on cycles, which in turn are often defined by buzzwords. The current buzzword we often hear is “subversion.” As in: “We’re looking for scripts that subvert the paradigm.” Or: “We’re looking for projects that feel subversive.” We might naturally ask what is meant by “subversive.” But it’s kind of like “high concept” or “elevated” in that it’s less of a concept that adheres to a hard and fast definition than a you-know-it-when-you-see-it sorta deal. However, we can discuss “subversion” as a shorthand for the idea of subverting expectations. The latter concept...

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THE FREEDOM TO SUCK

THE FREEDOM TO SUCK

Hanging out with friends, one of my favorite things to do is to just pitch around ideas. If you’re just drinking and relaxing, the ideas don’t have to be good; a lot of the fun comes from making everyone laugh with a really dumb-sounding idea. But at the same time, a lot of inspiration comes from those conversations. It’s like jamming with a garage band; there is no audience, so there is no pressure to be “good,” and thus there’s freedom to just noodle around, play, riff, try things out, and perhaps maybe kinda sorta trip over something good. When...

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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 -

HIGH-CONCEPT VS EXECUTION-DRIVEN

HIGH-CONCEPT VS EXECUTION-DRIVEN

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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Hook

Hook

We’ve touched on macro elements like Genre and Sub-genre, and gotten somewhat more specific with Paradigm. Now let’s talk about Hook, which might be described as “the big idea of the movie” or “what the movie is about.” But Hook can also be seen as the “what makes this script/movie unique,” i.e. what sets it apart from all of the other scripts and movies in the same space. Because: simply going through the motions of plugging in the standard beats of a paradigm, checking off all the boxes, isn’t a hook; it’s just an exercise. The older industry term for...

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