More examples of high concept

You can read about recent script deals in such trade publications as Variety as well as on the Internet. In September, 2000, the pitch below was sold. It's one of those ideas that makes me slap my head and say, "Why didn't I think of that?" In other words, this idea is a natural. Listen to it:

THE DOCTOR AND THE DOORMAN.

A woman surgeon can't get dates because she is too bright and well-employed; a man can't get dates because he is only a doorman. When they meet, she pretends to be a 2nd grade teacher and he pretends to be a stockbroker. Now they are falling in love but are afraid to reveal the truth to one another.

Once you learn the craft of screenwriting, coming up with "high concept" ideas like this -- ideas that make you slap your head because they are so obviously the foundation of a good movie with wide appeal -- is the greatest challenge a screenwriter faces.

A Personal Note

I recently (January, 2002) had first-hand experience that demonstrates the commercial advantage of "high concept" ideas.

I confess such ideas come hard to me. Perhaps because I started in short story writing and playwriting before I turned to film, my story ideas tend to be small and character-driven. I don't know how many times a producer has told me I've written "a nice little movie." Nice little movies are the hardest to sell!

A former student walked into my office in October, 2001, to run some story ideas by me. This is a young man for whom high concept ideas come easily. It's writing that is hard for him.

To make a long story short, one of the ideas struck me as particularly commercial and I urged him to get writing on it. A week later he came back to my office. Would I be interested in collaborating with him? Writing was as hard as ever for him.

So we struck a 50-50 deal and 6 weeks later had a marketable script, thrice rewritten! The first four agents we pitched this idea to (I had just ended a relationship with an agent and was looking for a new one) ALL asked to see it. Major agencies who wouldn't give my small stories the time of day are falling over one another to read this high concept story.

And what's the high concept? Here's the pitch:

I'LL DO ANYTHING

Michael thinks he has found his soul mate in Gabbi -- until she comes out as a lesbian. Now the only way for him to win her back is ... to become a woman.

Whether we get a top agent and sell this remains to be seen but one thing is clear to me: it is much, much, much easier to market a high concept story than a smaller story.

(Note [Sept. 27, 2002]: despite the many readings, the script has not been an easy sell. We still are marketing it.)


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