Especially with a comedy, you've got the clear cut goal of trying to make a scene funny. It's not like drama where you're trying to achieve some kind of emotion or trying to further the story along. You're trying to figure out what's the funniest way...
I read that John Hughes script for 'Mr. Mom,' and I thought, 'This guy is a funny writer.' I went: 'You ought to stick around and direct this thing.' But he didn't; he left, and look what he became. A really legendary comedy director.
Comedy is probably a lot harder for me. Maybe it's because I've been doing drama for so long or maybe it's because... you don't want to search for a laugh; you can't try to be funny, you just have to naturally be funny or be in a situation that's fun...
Often when you are starting out in comedy, you will find that people will laugh at the things you didn't think were funny. It's important to pay attention also to what people are laughing at when you are just talking in regular conversation. Often th...
Everyone who has ever met me for at least five minutes knows I'm a really funny person. I love to laugh and to make people laugh, so writing comedy comes naturally to me.
People are funny, and in the most tragic situations, when comedy erupts from nowhere, it can turn on its head within the space of a second or a minute. You're laughing one minute and you're crying the next and that's just life for me, and that is wha...
I think I would say 'The King's Speech' is surprisingly funny, in fact the audiences in London, Toronto, LA, New York commented there's more laughter in this film than in most comedies, while it is also a moving tear-jerker with an uplifting ending.
I was very young, and I kind of decided I wanted to do comedy. My parents were musicians, so we traveled on a tour bus. You're in a different town every night; as a kid, you're trying to make friends fast. You try to be funny.
For people who have done comedy after a certain point in time, I think there's a base level of, 'O.K., I think I'm decently funny.' But unless you just have some massive ego, I really think you're still fighting against that.
I love romantic comedies. They're for me the easiest thing to do and the most natural to do. There's nothing natural about holding an uzi hanging out of a moving van shooting at people. That's not second nature to me, thank God.
I find painting a much slower process than comedy, where you can go a mile a minute verbally and hope to God that some of the people out there understand you. I don't paint every day. I'm not that motivated.
I just made the decision that I was going to try comedy, and if didn't work, then I knew it didn't work. Then I would go back and do whatever. But at least I wouldn't torture myself the rest of my life, wondering whatever would have happened.
I was, and am, a frustrated filmmaker and film student, and my passion and love for movies was so broad that, in the earlier part of my career, I stumbled into doing 'Sports Night' and was a comedy director.
I don't love comedy but I can watch someone who's kind of interesting forever. I think a waitress who's having a bad day is a lot more fun than Robin Williams doing forty minutes of material.
I would love to work with Sir Anthony Hopkins. How and why that would happen in a comedy I'm not sure - why he would be dragged over to my side, or I'd be be dragged over to his side.
I've always been sort of addicted to genre-jumping. I've never been in the mood to do the same thing I did last time. Hence, me going from 'Big Love' to romantic comedy, to period film... I can't sit still.
A comedy can actually get funnier and funnier. Even though you know the joke, you enjoy it so much, it's the facial expression, you laugh. The laugh doesn't wear off. It could be with you for thirty years.
There is no essential difference between the material of comedy and tragedy. All depends on the point of view of the dramatist, which, by clever emphasis, he tries to make the point of view of his audience.
Comedy has to be so much cleaner than drama. You can't layer it in the way you can a dramatic performance. Which is why it's more difficult than drama - you don't have so many tricks.
In 'Pictures from an Institution,' Randall Jarrell was able to transcend the academic novel by simply ignoring it, writing a comedy with no plot at all beyond his own pleasure in language and humanity itself.
The first comedy screenplay that I wrote was Animal House and I always thought I could and should be a director but no one was about to give me that opportunity on Animal House.
