THURSDAY'S SCRIPT TIP:
LOGLINE = HIGH CONCEPT?
What is the difference between a logline and high concept? If you can sum up your script in 25 words or less, doesn't that make it a high concept?
Nope. Every screenplay will eventually be distilled down into 25 words or less - a logline. No matter how complicated the story, you'll need to condense it down 1-3 sentences for your query letter, and when your script is "covered" by a reader they will boil it down to one simple sentence. A good script is focused and can be described in 1-3 sentences that capture the essence of the story. That doesn't mean it's a high concept - only that there's an actual story.
MY BIG FAT GREEK WEDDING - Unmarried Greek girl has trouble convincing her traditional Greek parents that handsome WASP from conservative family is her Mr. Right.
20 words, but not high concept.
High Concept is the IDEA. Some cool, grabber idea. A high concept idea is so cool you just have to see the movie. The idea is intriguing, exciting, unusual. I think of high concept as "story as star" - you could cast actors you've never heard of and people would still be lining up to see it because of the IDEA.
LIKE MIKE - Grade school kid finds magic tennis shoes that allow him to play basketball like Michael Jordan... joins the pros!
REIGN OF FIRE - When dragon eggs found in a subway excavation hatch and take over the modern world, a dragon slayer uses helicopters and tanks to destroy them.
High concept ideas work well in loglines - the idea is so powerful you really don't need any more than 25 words to get someone excited. We can imagine what happens next. I can read either of those two loglines and not only be interested in the film no matter who they cast ion the lead, I can imagine what happens on screen. I can envision the helicopter and dragon fights, or the comedy from having a 12 year old kid playing against 7' tall pro basketball players. The idea is the seed the whole story grows from... the idea is the star. Both are also "cool" ideas - they are unique and interesting.
Here's an example of a high concept story: Broken hearted Guy goes to have ex-girlfriend erased from his memory - but he's reached his limit! He's already had 25% of his memory erased! Don't you want to know want to know what was in that 25% of his memory? What kind of tragedy takes up 25% of your memory? What if it isn't a tragedy, but a government secret? Should he really be poking around, trying to discover what he forgot?
(This tip and idea is one of the originals from 1999 and predates ETERNAL SUNSHINE OF THE SPOTLESS MIND.)
A good high concept starts people thinking about the whole script - they HAVE TO KNOW WHAT HAPPENS! A logline just condenses the story to 25 words or less. Every script will eventually be condensed into a logline... but not every script is high concept.
Love the ending to INSIDE MAN? Hope they'll make a sequel to THE HILLS HAVE EYES about the Hill's *nose*? Think the LARRY THE CABLE GUY movie has Oscar potential? Be heard: Movie Discussion!
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WRITING INDIES - Writing an Indie film? This class covers everything you need to know - from Central Locations to Confined Cameos. Using examples from SWINGERS, THE COOLER, STATION AGENT and others, this 80 minute CD is packed with information. How Indoe films challenge the audience (while mainstream films reassure the audience). Structures, using BOYS DON'T CRY, RUN LOLA RUN, HILARY & JACKIE, and others as example. Writing for a budget, writing for non-actors, getting the most production value out of your budget. Writing Indies is $14.95 (plus $3 S&H)
IDEAS AND CREATIVITY - 80 minute CD packed with information. Tools to find ideas that are both personal *and* commercial. How to turn your personal story into a blockbuster - or find your personal story in a high concept idea. Brainstorming and being creative. Ideas and Creativity is $14.95 (plus $3 S&H)
WRITING THRILLERS - a TWO CD Class - The first CD covers the essentials of a thriller screenplay, using examples from MINORITY REPORT, NORTH BY NORTHWEST, BOURNE IDENTITY, BREAKDOWN, THE LADY VANISHES, THE GAME and THREE DAYS OF THE CONDOR as primary examples - what do all of those films have in common? This CD will tell you! Part Two covers the 20 iconic scenes in Thriller films, and explains how suspense works using MINORITY REPORT as an example and how plot twists work using BOURNE SUPREMACY and other films. Writing Thrillers: Two CD Class - $24.95 (plus $5 S&H)
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