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Jammin, I think it's quite clear that there are those who are funny, and those who aren't. Same goes with those that are athletically gifted and those that aren't, and won't ever be.
Throw it up on the board and sometimes it's going to stick, but as someone else said (I think Brian), think about an irritating office coworker who continually tries to be funny...and isn't. It just doesn't work sometimes, and people need to understand that.
No problem with trying though, for sure. We've all got our "special talents"...nothing wrong with exploring what they are, but if they're not there, "look another way".
Your coworker obviously hasn't learned the anatomy of comedy.
Someone can be strong physically, he can be faster than a cheetah, taller than Michael jordan, but if he hasn't learned the strategies and techniques necessary to master basketball, a shorter, weaker guy can best him. Absolutely.
Then there are folks like Jim Carrey, who are funny for 30 second spurts, as when he was on In Living Color, but when you are subjected to him for 90+ minutes at a time, he wears your nerves down to nothing.
Of course, Jammin. Not my point, exactly. There's always going to be a "Rudy" on every team and in every walk of life.
As many have commented, and I agree, comedy is a tough genre, as it first either works, or doesn't, and then you've got the multiple personal opinions on what's actually funny for them.
No offense meant in anything I've said, but as Brian said, and he's definitely, and classically correct, there are those that try and try and just aren't funny, and then, they get irritating.
Steven's also right, with his Jim Carrey example. Many think he's funny as shit...all the time, but others, quickly lose that feeling when he goes on...and on...and on.
Ok, we all agree that comedy is subjective. That's one thing to consider, sure, but my wider point is that it is a falacy to say comedy cannot be taught.
Jokes come in multiple formats and varying structures that once learned, can successfully elicit laughter.
Oh heck, even the best comedian has to be taught proper timing and what not. That goes without saying. There is no doubt that people are born with specific talents, but some things can be taught.
A good actor could take a totally serious drama and make it funny as all get out, and likewise, they could take a totally rip roarin' comedy, and make it a drama.
That being said, a comedy writer may not know that much about timing, but the actors finally make it what it is. I may be the best comedy writer in the world, but a stiff actor may turn it to crap.
Did any of that make sense in the context of this thread? However, the thread was about a fella who wanted to write a script, because they had a great yearning to do so, and wanted tips. My tip is to study structure and style, then write the story you have in your a heart. An incredibly intelligent and talented young man once told me this:
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As for what a producer or director wants to see, that's anybody's guess. Just write what you'd like to see. There's bound to be somebody out there with the same mindset.
Dreamscale, let's be fair here... Rudy was a hack. He never played a game one until the very last game of his stay in college. He sucked. He lived for football and he still sucked. He sucked so bad that nobody wanted to start him, let's put it that way. "ha"
Seriously, though... We are all going to have to agree to disagree with someone here. Comedy cannot be taught in my eyes. In Jammingirl's it can. I dunno, I agree with the office guy trying to be funny analogy, myself. People who tell jokes and try to be the "prankster" just don't realize how unfunny they are sometimes... The thing about those people is this; they try so hard everyday of their lives to be funny but fail at it.
Maybe they're not learning from their mistakes... Or, better yet... maybe they don't have the right teachers teaching them "comedy"
Yeah, agred, my Rudy analogy was meant more of a generality, that there are many "untalented" people in all walks of life that "succeed" way beyond their actual talent or skill, in one way or another.
Sam, I'd also like to come back in and tell you one very, very important thing about writing a comedy script. Some books you read will tell you it. Some you read won't... but comedy is the one genre where you do have a lot of liberty in how you craft it.
To where you have to follow a strict set of rules in most screenplays (I.E.) no more than 4 lines per action slug. No "WE SEE". No describing what the character is thinking and or feeling... Stuff like that. In a comedy alot of that does pertain, but you can take more "CREATIVE" liberty with your script than you can on a drama, horror or action script.
Just a heads up. If you'd like to read my comedy based on my home town and my highschool days, let me know. I'd be glad to let you check it out.
Most comedies are only drama's taken to extremes. They are generally just the fish out of water story, so you take someone who is good at something and put him in a completely alien enviroment.
EG A CIA operative in a family situation (Meet the Parents), A man pretending to be a woman (numerous films inc Mrs Doubtfire and Tootsie) a psychologist in the Mafia (Analyse this).
A lot of comedy can be played extremely straight and it's the situation thats funny. That being the case, if you can write a strong drama you should have the tools to be able to make a fair stab at comedy IMO.
By taking two opposites you create a naturally funny situation and all you really have to do is to stay true to your character and the situations he gets into will naturally be awkward and amusing.
So for instance, you get a film like Kindergarten Cop where a tough Cop is placed in a school. All you have to do is write a tough guy cop scene (it can even be cliched, it doesn't matter) and have it administered to kids instead of criminals and it's funny. You don't even need any jokes, it's just the reversal of expectations that's funny.
I can see why some people would say you are either funny or not, but frankly, funny people don't necessarily write funny material.
Most comedies are only drama's taken to extremes. They are generally just the fish out of water story, so you take someone who is good at something and put him in a completely alien enviroment.
EG A CIA operative in a family situation (Meet the Parents), A man pretending to be a woman (numerous films inc Mrs Doubtfire and Tootsie) a psychologist in the Mafia (Analyse this).
The fish out of water is as much used in dramatic pieces as they are in comedic. It really depends on how you look at it. The examples that you gave can also be used in serious movies, including The Good Shepherd, Priscilla Queen of the Desert, and the Sopranos.
I'm sure that most comedies have their dramatic counterparts and vice-versa.
Oh yeah, I don't deny that. In a way I think that strenghtens my argument, they are closely related. I think if you have a strong understanding of what is dramatic and powerful, you would almost certainly have an idea of what would be funny in the same situation.
A lot of very powerful and dramatic films have a good dose of humour as well. Good writers will tend to have a wide palate of emotions and options to use. Like yourself. You can write funny stuff and scary stuff.
Most comedies are only drama's taken to extremes. They are generally just the fish out of water story, so you take someone who is good at something and put him in a completely alien enviroment.
EG A CIA operative in a family situation (Meet the Parents), A man pretending to be a woman (numerous films inc Mrs Doubtfire and Tootsie) a psychologist in the Mafia (Analyse this).
A lot of comedy can be played extremely straight and it's the situation thats funny. That being the case, if you can write a strong drama you should have the tools to be able to make a fair stab at comedy IMO.
By taking two opposites you create a naturally funny situation and all you really have to do is to stay true to your character and the situations he gets into will naturally be awkward and amusing.
So for instance, you get a film like Kindergarten Cop where a tough Cop is placed in a school. All you have to do is write a tough guy cop scene (it can even be cliched, it doesn't matter) and have it administered to kids instead of criminals and it's funny. You don't even need any jokes, it's just the reversal of expectations that's funny.
I can see why some people would say you are either funny or not, but frankly, funny people don't necessarily write funny material.
Actually I'll go even further. Comedy is about knowing what people expect from a given situation, lay out three quarters of the situation for them then give them the complete unexpected. The subject matter can be as minute as noticing people's behaviour while standing in line and taking an unexpected point of view on it. Check out Larry David's 'Curb your Enthusiasm'.
Take an example from 'Moonstruck' where there was no fish-out-of-water scenario.
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AN OLD ITALIAN CRONE IS LOOKING OUT THE TERMINAL WINDOW
In the background we see the accordion like ramp that was loading to the departing aircraft, slowly fold up. Loretta walks up beside her, and looks out the window, too. The crone is dressed in black and has a black scarf on her head.
The Crone notices Loretta.
CRONE Do you have someone on that plane?
LORETTA Yeah. (smiles) My fiancé.
CRONE I have put a curse on that plane. My sister is on that plane. I have put a curse on that plane that it should explode. Burn on fire and fall into the sea. Fifty years ago she stole a man from me. Today she told me that she didn't even love him. She took him to feel strong with me. Now she goes back to Sicily. I have cursed her that the green Atlantic water should swallow her up.