Idea vs. Execution
I subscribe to a number of different online screenwriting groups, and one of the most common pieces of amateur advice I see is this:
It’s not the idea that matters, it’s the execution.
Well, I’m here to tell you, that’s categorically FALSE!
Obviously, having both is ideal, and execution is important, but as far as selling your script to Hollywood goes, there’s one clear winner: THE IDEA.
I can’t tell you how many producers I’ve heard confirm that they’d much rather have a mediocre script with an amazing idea than an amazingly well written script with a mediocre idea.
In today’s Hollywood, concept is king when it comes to selling scripts.
Think about it. You’re competing against bestselling book adaptations, sequels to proven movie hits, award-winning podcast adaptations, reboots of popular old movies or TV shows, and spec scripts or pitches from insiders with all the connections you don’t have.
To penetrate that barrier of attention with a spec script, you need a concept that makes people stop in their tracks and take notice.
“Execution dependent”
If you’re pitching your script to someone and you hear them say it’s “execution dependent,” you’re probably out of luck.
It means they may have liked the pitch, but the success of the film is dependent on how the final movie comes out. Those kinds of movies are far more risky to make.
Look at the movie that just won Best Picture at the Oscars — PARASITE. If that movie were written as a spec by an unknown, there’s no way in hell it makes it through the Hollywood system.
Notes would come back from readers saying things like: “The tone is all over the place” and “The script is too long” and yes, “It’s execution dependent.” Sad but true.
However, a movie with an amazing idea/hook/concept? It’s hard to mess that up. And the concept sells itself. The studio doesn’t have to spend millions of dollars explaining what the film is about or hope it generates critical buzz.
Nothing’s impossible
It’s not impossible to break in with a harder-sell script concept that’s written beautifully. If it gets into the right hands, it may even launch your career by getting you writing assignments.
But that’s IF it gets into the right hands — and it’s the quintessential example of easier said than done. And even then, that doesn’t mean anyone’s necessarily interested in making your original spec script.
So do yourself a favor and spend a lot of time brainstorming and deciding what script to write. Like a LOT of time; more than you think. You’ll save yourself a tremendous amount of time and frustration in the long run.
What movie should you write?
I can’t answer that question for you, but if you’re an unproduced or first-time writer, I can recommend what kind of film you probably shouldn’t write.
- Don’t write an epic script that would cost 100 million dollars to produce. No one is going to take a chance with that kind of money on an unknown screenwriter, no matter how good the script is.
- Stick to one genre and nail it. Don’t get too experimental or personal — as in “You had to be there to get it” personal. (Passion is always important in whatever screenplay you decide to write.)
- Make sure the characters are relatable or immensely intriguing.
- And most importantly, write something with a killer idea or hook that can be filmed with a low budget!
Get that film sold and made, and keep your epic, big-budget blockbuster concept or nuanced passion project in your back pocket so you can write it when you have a proven track record of success.
How much time do you spend brainstorming compelling concepts and choosing which script to write?
I agree with everything about the idea being more important but doesn’t the producer decide the budget.? Isn’t it better to try to sell a script with all the extra details that are seen as “high budget” and have a producer get a clearer idea of what the story is about; then said producer can pare it down to a lower budget?
Also, if a script is good why would investors or a producer care if a screenwriter is known or not? If the script is good, that should be what makes it sell as something profitable to investors and producers. Am I wrong?
Great questions! First, producers — and even before that, readers — are looking for any reason to say no. The less development your script needs, the better your chances. If the concept is brilliant, a producer would be more likely to invest in some script development.
Second, if a script is excellent, it’s less important whether the writer is known or unknown. But that only applies to low budget films. On big budget films, they’d bring in an A list writer to rewrite you. That’s just to get past the algorithm needed for a green light.
Bottom line, if the idea hits the mark, it’s more important for the success of your project than a script with a mediocre concept but is executed well.
Thank you. Finally, honest and on point responses. I hope I reach a point where an A list screenwriter revises my script. I will be spending a lot of time reading posts on scriptwrecked.
Well I totally disagree. Guy looses his kids in a fire and tries to get out of his own misery to take care of his nephew upon the death of his brother. Not a good “idea.” 4 buddies in their senior year in high school want to help each other lose their virginity. Old and done, right? How about a math genius is a personal wreck and meets a prof who is also a mess and they help each other out of their ruts. Again sounds boring and a horrible pitch.
Manchester by the Sea. American Pie. Good Will Hunting. My name is Chris Moore and I produced all 3. Execution is crucial. If you want to win an Oscar, Good Will and Manchester, or become the A list writer who rewrites folks who just have ideas, be a great writer and be able to turn any story into a great movie. Then, yes, having both is the best, but never underestimate “execution.”
Hi Chris,
I love this! Thank you for taking the time to respond. I always endeavor to give my readers the best information possible and will post a new article with your counterpoint. You’re right; for indie dramas and comedies especially, execution may actually be the most important thing. And obviously having both would be best.
By the way, no introduction necessary. I’ve been following your career since Project Greenlight and very much respect you and your no-nonsense approach.
Cheers!
Obviously both story and execution is important, but in my opinion the execution is on top of the list. A good execution can improve a story that isn’t really that good, and a poor execution can destroy a great story.
It’s just like comics; a great artist can improve a bad story, but a horrible artist can ruin a story.
Give two different directors the same story, and you could end up with one great movie and one bad movie.
As for characters (and dialogue); I used to think that they had to be as realistic as possible. But today I think that they must always be credible, but not necessarily realistic.
Tim Hansen,
I disagree. A good, unique story is more important because once a producer, agent or manager gets a hold of the script and wants to buy it they will either ask you to change it or hire another writer to do it.
They buy it from you then change it.
“Good execution” is far more arguable then a good story. When screenwriting gurus blather on about “character development” and execution” they are just ploys to take your money. In the end you need a good story.