I like Russell Brand, and I like high concept romantic comedies, at least in theory, yet this premise doesn't appeal to me at all, probably because it is so cleanly high concept, it already feels formulaic and stale to me. I feel like I could predict every beat of the script. And what's the fun of seeing a comedy if you aren't going to be surprised by anything?

If this was a spec script, the title would be "The President is F*cking My Girlfriend" (because agents apparently now require at least one F-word in the title before they'll agree to go out with a spec).

Actually, Paul, wouldn't a better title be "The F*cking President is F*cking My F*cking Girlfriend"? Three times as likely to sell!

Caitlin, there's a weird way in which the formulaic nature of a concept can work in its favor. First if a producer or studio exec can project from the idea some of the story's dynamics and set pieces, then they are more likely to 'get' the idea. Second I have argued this with studio marketing people, but their contention is that movie trailers that give away so much of the plot actually create more interest on the part of most consumer to go see that movie. I know, sounds crazy, but I've been told over and over again this is true. And if that is true, then it would also stand to reason that one of the strengths of a high concept is to get consumers already thinking about what they might expect to see. Please understand, I'm not disagreeing with your fundamental critique of the idea being - potentially - 'formulaic,' simply trying to suggest how that association can be seen as a plus in Hollywood. OTOH from a writing standpoint, while there are certain narrative elements you would probably want to write that moviegoers could project from the concept, you also want to provide enough different bits of business, even set pieces to surprise viewers. That can help to generate buzz and word of mouth. And let's be honest: Most of the movies Hollywood produces, we can anticipate the broad strokes of the plot before we see the film. The challenge for a writer is to make the process how the story plays out getting from beginning to end feel non-formulaic.

Oh, I completely understand how formula appeals to producers, execs, and marketers. It's just my reaction, as a potential audience member, to be weary of the formulas that are incessantly peddled by those producers, execs, and marketers. I yearn for something fresh!

Now that movie I would see!

@Caitlin -- Couldn't agree more. It just sounds dumb. I remember having a meeting with a producer who told me you have to have a clear logline -- then proceeded to tell me about this high concept comedy he was working on -- A group of guys go to Mexico seeking a donkey show. I laughed. Not because it was funny. But because it was dumb. I imagine a lot of people's first response is laughter to loglines like these. But I doubt many would part with 12 bucks to go see it in theaters. @Paul -- That fad (of using expletives as spec titles) is actually a few years old now. It's on the tail end. The past season or two of television has seen a slightly tamed down version still hanging around. I don't think it'll last much longer. I mean, how many different variations of "I WANT TO F#$% YOUR SISTER" can you read before it is no longer edgy and just the status quo. Of course vampire spec scripts were so 2006 and those are STILL being made. So who knows? @Scott "I have argued this with studio marketing people, but their contention is that movie trailers that give away so much of the plot actually create more interest on the part of most consumer to go see that movie." They're wrong. One big part of the problem is that the movies they put out are so surface level that it is nearly impossible to create a trailer without giving everything away. "Look, they kill everyone at the end!" Sadly, that's the ONLY unique thing about the script. So they HAVE TO show everything. There's nothing else. Another problem is when the script uses the premise as a reveal. PREDATORS did this. It was a reveal of a plot point that these guys were on a different planet. Yeah, no shit -- that's the whole premise of the movie. That's what we saw in the trailer. That's why we're watching the movie. The problem is that they've hung their entire story on this point without trying to develop anymore depth or anything new beyond this. And thus -- formulaic movie. Most movies that have good trailers that don't give everything away, tend to have more plot, more twists, more reversals, than just what makes the premise unique. So it can give away the sizzle without showing the meat. Look at THE DARK KNIGHT. Hell, it was even questionable from the first trailers that TWO-FACE was even in the film at all. (Yes, Harvey Dent was in it. We all knew that. Fans knew who he becomes). It was only keen eyed fans that noticed a pic of Harvey in a squad car holding a gun, where there is just the slightest bit of discoloration of his nose that hinted, maybe he would be Two-Face in this movie. The problem isn't the trailers. It's not the audience. It's the flimsy thin ass stories that studios are producing.

I love it. You know what you are getting the moment you hear the name. Brand is an arrogant jerk, and I love him for that. I haven't seen him do anything outside of the hippie/rock star persona, but I guess they say "if it ain't broke, dont fix it!"

I'm just going to ignore the Hollywood version of Brand until he gets back to his roots and teams up with Noel Fielding to do a Goth Detectives movie.

Go watch The Tempest, with Helen Mirren as Prospera... Brand plays Trinculo, and he's not terrible.

What about a Mighty Boosh movie with an Allan Holdsworth/Human League soundtrack