"What's a high-concept movie? In short, it boils down to three words: look, hook, and book. Look means it's got a great appearance—think beautiful actresses and handsome actors. Hook is all about an exciting plot that grabs you and keeps you interested. And book refers to polished filmmaking techniques—smart storyboarding, clear storytelling, and solid logic."
"To borrow a phrase from Mr. Barry Diller, it's a movie you can sum up in one or two sentences. A lot of people question whether the high-concept movie idea, which dominated Hollywood in the '80s, still works in the '90s or even into the new century. Has it lost its magic? Absolutely not! Let's look at the evidence."
"Titanic—a love story between a rich girl and a poor boy on a sinking ship. Spider-Man—an ordinary kid turns into a superhero to save New York and uphold justice. Saving Private Ryan—a debate about the value of sacrificing ten lives to save one after the Normandy landing…"
Behind Dunn, the PPT slides lit up with a list of blockbuster hits from recent years. "See that? Whether it's Independence Day, Face/Off, Star Wars, or Mission: Impossible, even if you strip away the special effects, these films still fit the high-concept theory perfectly. Look! Hook! Book!"
"So, here's my point: high-concept movies aren't dead. They're still the golden rule of commercial filmmaking—a topic every filmmaker and film student should take seriously! Sure, there are exceptions, but whether it's the past or the future, commercial movies have to revolve around this high-concept core."
"I know a lot of academic types—professors and students alike—turn their noses up at high-concept stuff. They think it's too simple, too dumb, lacking depth. I've even heard that at NYU's film school, they call these films 'kiss movies.' No, not kissing movies—it's an acronym: K-I-S-S. Keep It Simple, Stupid!"
The room erupted in laughter at that one.
Dunn glanced at the front row, catching sight of Cameron, Lucas, and others laughing heartily. Only Michael Eisner sat stiffly, his face blank, clearly unimpressed by Dunn's take.
After the brief moment of levity, Dunn went on, "But here's what I want you all to understand: if you want depth or philosophy, go make an art film. High-concept is for commercial movies! And what's a commercial movie? It's a product, plain and simple. A product doesn't owe anyone an art lesson—its value lies in getting customers to open their wallets!"
"In other words, if you're into commercial filmmaking, congrats—you've got a shot at making some serious cash. Let's not beat around the bush: compared to art films, commercial movies have way more market value and profit potential! Plenty of artists scoff at the word 'money,' calling it a betrayal of art. But let me tell you something—"
Dunn clicked his remote, and the PPT flipped to a new slide with a bold, striking sentence.
He read it aloud, his voice booming: "Making money legally is the most dignified way to live in this era!"
The room exploded with thunderous applause!
It was the rallying cry of a mogul!
And it resonated as a foundational belief for many ambitious young people chasing their dreams.
Dunn stole another glance at the front row—these were Hollywood's elite, and their reactions mattered.
This time, even Michael Eisner nodded and clapped, showing strong approval.
"So, do you get it? Making money isn't shameful—it's an honorable mission. Of course, the catch is, you've got to pay your taxes legally."
Dunn paused, switching slides again. "When you're making a commercial movie, your goal can't be artistic value—you're not obligated to create art! Instead, to make money, filmmakers often end up creating art, history, or something extraordinary anyway."
"To rake in the profits, you've got to draw in audiences. To draw in audiences, your movie needs an original, imaginative concept. A low budget is never an excuse for a weak script—and that's where high-concept theory comes into play. So, let's give a big round of applause to the pioneer of this theory, Mr. Michael Eisner!"
Michael Eisner blinked, caught off guard by the sudden shoutout.
But as the room filled with roaring applause, he stood up, waving to the guests, professors, and students, a flicker of pride crossing his face.
---
Did Dunn actually understand film theory?
Of course not—he was totally winging it.
His speech had been drafted by Bill Mechanic himself and polished by a team of industry pros from the production department.
Still, this was Dunn's "secret" to commercial success—a unique weapon. By blending foresight with concepts from future blockbusters, he gave the speech an air of originality.
High-concept movies were a widely accepted formula for commercial hits: distinct characters, clear conflicts and resolutions, a three-act structure anyone could spot, and a premise you could pitch in a sentence or two. It's been Hollywood's go-to recipe for years.
Dunn's choice to lead with "high concept" hooked the audience fast.
After Michael Eisner soaked up the applause and sat back down, Dunn pressed on—
"Let me say it again: high concept is critical. It's the foundation of commercial movies—like the bedrock under the George Lucas Building."
He kept the tone light and engaging—all part of the plan, of course.
"But here's the catch: some producers use high-concept thinking and nail it. Others try the same approach and flop. What's the difference?"
The rhetorical question sparked curiosity across the room.
Even the big shots in the front row—Hollywood's heavy hitters—leaned in, eyes wide, hanging on his every word.
They wanted an answer—a Dunn Walker-style answer.
Dunn flashed a small smile, clicked the remote, and the slide changed. A photo of the "George Lucas Building" filled the screen, stirring a slight buzz in the crowd.
George Lucas puffed up with pride. "This Dunn guy sure knows how to give a shoutout!"
Dunn continued, "Let's stick with the building analogy. I've already said high-concept theory is the foundation of the George Lucas Building. But you still need the structure, the interior design, and the teaching equipment to make it functional. Same with movies: high concept is the base, but to turn a profit—to make it a hit—you need more."
"Back in the '80s, Mr. Eisner turned Paramount and Disney around—twice! Ninety percent of the films he backed made money. He championed high-concept theory, but what else did he do?"
It was meant as a rhetorical question, but an eager student in the crowd shouted, "Low costs!"
Dunn grinned, throwing up a thumbs-up. "Exactly! Like I said earlier, Mr. Eisner kept budgets tight. Pair that with high concept, and your odds of success skyrocket. That logic clears up a lot of questions."
"Why did Aliens 2 crush it? High concept plus effects and sci-fi. Mission: Impossible? High concept with a megastar and fast cuts. Batman? High concept meets branding. Jurassic Park? High concept, big production, a star director, effects, and branding all rolled into one—that's how you get a box-office miracle."
"Later hits like Independence Day, Titanic, Men in Black, Star Wars: Episode I – The Phantom Menace, Spider-Man, and The Unsinkable followed the same pattern. Start with high concept, then build on it with more layers—and boom, massive success."
"Now, some movies—and I won't name names, I'm not here to make enemies, ha!—they've got gorgeous design, A-list stars, top-tier producers and directors, huge budgets, and epic scenes… but they still flop. Why? The foundation wasn't solid. Their concept wasn't high enough!"
"Of course, today's talk isn't about pointing fingers—it's about sharing my take on filmmaking. People ask me all the time: why do my movies always rake in huge box-office numbers? Like, super huge! I bet it's a question not just you students are curious about, but a lot of my industry peers too."
Dunn paused, scanning the attentive crowd. Man, this felt good.
"So, what's my trick to making films massively successful?"
He dangled the question with a sly grin. "The answer's both complicated and simple. On top of high concept, I've got a new idea to throw out there—the blockbuster effect!"