THREAD: I recently passed on something using a phrase that's probably the one I use most often to pass:

"Doesn't feel unique enough for the marketplace."

I wanted to talk about what that expression means and why that's my most-used reason for passing. 1/

I use that exact expression (or a variation of it) when passing on queries or when I'm discussing a client's potential ideas for their next project. I'd say it's probably 50-75% of the reason I pass on things. 2/

The simple fact is that the marketplace for film and TV content is as crowded as it's ever been. There are more outlets putting out content than ever before. There are so many shows, movies, and so on. And more pilots & scripts out there than ever before. 3/

I was fortunate to have a meeting with legendary producer Dan Lin early in my career. I asked Dan what material I should bring him and his answer was simple:

"Things that cut through the noise."

4/

Material whose concept was so unique and intriguing that it could cut through all the noise and chatter of the information overload world that we live in. Material that immediately made itself known. Whose concept alone marketed it. 5/

That's obviously a tall order. But it's what buyers are looking for from original material. Because all that original material is competing with the latest reboot, remake, sequel, and adaptation. 6/

Why is Hollywood so obsessed with IP? Because it's been pre-approved, it has a fanbase. It has already been successful in cutting through the noise before -- they're hoping it can do so again. 7/

Your original material doesn't come with that pre-approval. There's no guarantee there's a waiting and eager audience for it.

Think of the difference between the first Matrix and the sequel that's currently in production. 8/

The first one wasn't buzzed about at all when it was starting production. The writer/directors were talented, but not household names. Its marketing was mysterious and vague. It seemed cool, but no one quite sure what to make of it. 9/

Whereas, the latest sequel has everyone clamoring to know what might happen, full of theories and rumors. There is absolutely an audience for the new Matrix film and everyone involved knows this. 10/

But the first Matrix? The reason it got made was that it didn't FEEL like anything else out there. It felt unique. Yes, it had aspects of many existing films, books, comics... but they'd never been combined in quite this way. It was absolutely its own thing. 11/

I would say 90% of the ideas that come into me, whether they're queries or my client's brainstorm ideas, feel too similar to existing material. Especially the queries. They often feel EXACTLY like a film that already exists. 12/

They feel generic, like only a location was changed from another film. It's a masked killer hunting teens or it's a cabin with a spooky spirit or it's a family road trip to spread grandma's ashes. So on, so forth. Lots of people returning home to run the family business. 13/

No one wants to read those. No one wants to make those. And DEFINITELY no one wants to figure out how to market those. Which, honestly, is a huge driver of what studios decide to make -- can we market and sell this to the audience? 14/

The question you'll often confront in making something is WHY. Why do people need to see this? Why is this different from what's been made before? Why now? Why this way? Why? 15/

And the answer can't be, because there have already been movies exactly like it! Or at least, that's not where you want to start out at.

Studios can obviously grind down the unique edges of material to make them feel generic as hell. But they rarely start off as generic. 16/

What I often advise my clients is: look at your favorite movies. Look at your DVD/BluRay collection (if you still have one.) Is there a way to approach that genre/type of story from a different angle? Is there a POV that we haven't paid attention to before? 17/

This is what @LWhannell's INVISIBLE MAN did so incredibly well. Your standard "invisible man" film focuses on the Invisible Man and his struggles. I mean, he is the titular role! 18/

Instead, Leigh focused in on Elisabeth Moss' character -- told the story from her POV. It was able to explore how abused women are often not believed and all the societal advantages a rich, white male abuser would have. And how Elisabeth must figure out how to fight back. 19/

By shifting the POV, Leigh was able to give the film a WHY. It's very different from what came before and it has now set the tone for what those types of films can and should be. 20/

It's a tall order, but that's what the marketplace is looking for from your original material. It needs to have a reason to exist -- a why should we make this film? Why do people want to see it? Why should it exist? 21/

And the answer is, because you may have seen this type of film before, but you've never seen it this way. And doing it this way makes it compelling, intriguing, and compulsively watchable. 22/

That said, figuring out concepts that can thread that needle is one of the hardest things in the world. There's a reason those who can do it well repeatedly (Shonda Rhimes, Ryan Murphy, JJ Abrams...) are so richly rewarded.

But nobody ever said it would be easy! END