Their response was basically that they don't care what the studios want - they write what interests them. If it interests them, it will probably interest others, and sooner or later the industry will swing around to their story. I argued that for boring writers like me, it might be a good idea to keep audience interests in mind. He isn't trying to capture linear time and events in which one event follows another in exact measure. Time is compressed, broken, and even warped in a story.
Moments have to be preceded by something - set up so that the action has meaning.
He isn't trying to capture a scene into which all the dramatic action must be somehow stuffed. Scenes are preceded by other scenes which prepare for the action to follow - scene after scene in sequence. So what a writer is trying to capture is a piece of drama that is set up by events that precede it, and most likely sets up events that follow it. He has to be careful that other unfolding drama, such as a subplot or events, don't take the focus away from the main drama to the point that the main drama is lost. And part of drama is dialogue.