The High Concept

Described in Wyatt (1994) as an academic model represented with a formula of ten-points, film scholars use the high concept when attempting to explain how big budget films are conceptualised by Hollywood.



while the term 'high concept' however, is used in Hollywood, producers do not keep a checklist to make sure that everything is in order - many of them have no clue about Wyatt and his book. Instead, they have 'internalised' what makes a Hollywood film a success. Not every high concept movie stays true to all of the formula points. Academic models and film industry business practice are not to be confused.



In trade papers, writers use the term 'high concept' fairly loosely to describe industry practices as a shorthand. 'Buzz words' are the circulation of new business ideas and references to examples of success. This is one way of how institutions work to have new industry practices developed.



The High Concept Model

1. A style of 'Post-generic' film making based on the simplification of character and narrative.

2. Use of extended montages, which are in effective pop videos.

3. Production design reflects the graphics frequently, glossy look and layout of contemporary advertising styles.

4. Scenes are easily replicated in trailers, televisions commercials or publicity stills.

5. Formal excess (not in a melodramatic sense).

6. Music track interrupts the narrative of the film for a separate performance.

7. Self-conscious allusion to other films and television.

8. 'Detached' appearances of stars, similar to 'guest stars' in a television series'.

9. Hyperbolic physiques of protagonists and hyperbolic action.

10. Ironic Distanciation: walking-talking brand.

1. 'Post-generic' filmmaking
'post-generic' is often the term used for a modern Hollywood production because of the preponderance of hybrid genres in Hollywood production - producing something new by combining two or more traditional genres together. While this is not a new idea, writer Rick Altman (1999) has showcased that even 'classical' Hollywood in the 1930's marketed a film by pointing out the fact that it could belong to more than one genre, it is now used almost to to the exclusion of 'straight' movie genres. As 'genre' has always been a loose term in the film industry, we have to be careful here, whereas academics have attempted to be more precise. Perhaps the criteria audiences use when selecting what films to watch is where the important distinction is found.

When advertised in early 1998, Columbia Tristar's slate of 18 films included comedy drama, romantic comedy, futuristic thriller, action drama, action thriller, romantic adventure, action adventure, comedy satire, comedy thriller and romantic comedy-drama. There is a lack of traditional 'pure-genres' such as gangsta, musical, western ect. Even science fiction is now more likely to be called 'futuristic thriller'. The emotional effects that films have is what the industry terms refer more to generally - weather they make audiences cry, laugh or be afraid. These hybrids place a stress on a double appeal to action and 'relationships' - the traditional belief that men are more interested in action and that females are more interested in the relationships (comedy, romance, drama).

The strengths and weaknesses of these hybrids can be identified in two Will Smith films. 'Men in Black' (1997) was a comedy/science fiction hybrid, which grabbed the attention of a huge audience, including that of the science fiction comic book fan base as it was considered to be stylish and, at the same time, genuinely funny - a more general audience. 'Wild Wild West' (1999), on the other hand, was a comedy Western made by the same team, did not please the western fan base as much and it was seen as being not so funny. The lesson here may be that audiences have not lost interest in the thrills of genres - they may just interpret them in different ways.

Only horror films, 'teen' comedies and martial arts films, in recent years, have foregrounded their generic roots. All have grown a strong 'tongue in cheek' and 'teen and horror' and have been joined by a hybrid. The 'Scream' series parodied these genres in a post-modern fashion, which was followed by Dimension Films creating a spoof of the spoofs, 'Scary Movie'. Even though writer Steve Neale has made it clear that explicit allusions to to other films were a feature of Hollywood during the 1930's, this did not provide the foundations for the entire film.

This stripped-down narrative plus post-generic characteristics are part of what defines the high concept movie and is the simplification of character. This leads us up to the types that are, once more, not something unique to 'modern' Hollywood cinema. in the high concept film, however, this is used to an extreme level where the character exposition is not used and the protagonist can rapidly be 'pigeonholed' by audiences. in 'The Bodygaurd' (1992) Kevin Costner's 'one-note' performance of stoic, dedicated, masculinity does not varie. The premise of high concept movies are often so simple that a text has to indicate that it is not taking itself seriously or else audiences will feel as if they are being spoken to as if they were children.

For this simplification to work, casting is crucial: Rather than for their acting abilities, supporting characters are selected for their appearance. These looks range from the 'good' to the 'bad' - in conventional terms, the latter is being held on to for the the part of the villain and his/her henchman. While 'bad' is not necessarily relating to 'ugly' it could be represented by sharp features , a slightly podgy face or even a reddened visage that tells an audience 'too much boozing' . On the other hand, the 'clean cut' are often regarded as being positive - For example, if a character is called Ben, then it's 'odds on' that he will be a 'fount of wisdom'!

Ideally, it should only take three sentences or less and no more than twenty-five words to pitch a high-concept movie. This was satirised in the opening of 'The Player' (1992) where producers were pitching movies as combinations of other films e.g. 'Out of Africa meets Pretty Woman'. The pitches then get further compressed into the tagline. 'The Bodygaurd''s is 'Never let her out of your sight. Never let your guard down. Never fall in love.' The macho-elements and the romance of the film are captured in sixteen words.

Narrative is de-emphasized by this simplification, making it a vehicle for the film's other enjoyments. This allows tie-in products, which have no obligation to preserve the narrative line of the 'original' against the clear economic benefits of multiplication, which secures the range of the product in the market place and encourages repeated viewings.