The point to be made here is you can write a Hollywood film with an idea at its basis: what is the true nature of evil, or whatever else you want along those lines. But if you do, if that is where your writing heart lies, then you must learn to be masters of deception, hiding your intellectual notions behind strong emotional moments, action stuff, whatever. Shaw could write plays that were essentially talk. You can get away with this kind of stuff in a novel, too. But guess what: movies need to move. Forget that at your peril.
