A Quote by Todd Farmer
The actors come in and they make characters their own and so Patrick and I have never been the kind to think that our script is the bible. We want to make sure that the story is told, that you stick to the story but if you have to make changes to the character then that's fine. A lot of times there are some funny one-liners, funny things that happen that are out of the ordinary. I like it.
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[In comedy] you never want to leave the actors hanging out to dry. So you need to come up with funny individual stories for each character, and then you do this sort of comedy geometry, weaving them together. Once you've got a funny structure and you know why the scenes are funny, then you get super funny people to say your own lines, say their own lines, say things in their own way, and every scene is a live rewrite in front of the camera.
I usually start with an ending, then outline high points of things that happen, and kind of make up the rest as I go along. Occasionally, the characters surprise me, and I wonder how we got here. Other times, the characters are stubborn and won't do something I want them to in the story.
There's actually a big difference between story and character. A great story doesn't make a great movie. A great script, which defines its moments and characters can become a great movie. You can make a movie that makes a lot of money and it may or may not have great story or great characters.
I'm not offended. Lenny Bruce taught me that everything's funny. You can make everything funny. I don't think that assassinations are funny, I don't think you can make fun of ISIS, but almost everything is funny. And If we can't laugh at ourselves, who can we laugh at? So I don't mind ethnic humor. I like ethnic humor. I like dialect jokes. Laughter is a very subjective thing. If it's funny to you it's funny. And a lot of things are funny to me.
There is a shortage of hard R. It was the story and the character. He's never played a character like this and so that was the thing that really won him over. The story itself, on the surface - Patrick and I love actors almost in a geeky kind of way.
What people really want is not to make something funny, but to make something amusing - which, in many ways, is the opposite of funny. To amuse someone is to eliminate discomfort and awkwardness, kind of like a massage for the brain, while to be funny is to point out awkwardness and discomfort. Everyone thinks they want funny, but they really want amusement.
If a story is funny, and I made it up, then the big message is, `Aren't I clever?' .. If a story is funny and it actually happened, the big message is, `Isn't the world funny?' And actually I think that's a better message. I kind of want to think that about the world -- and it sounds less like boasting.
There are three things that are important for a film. Number one is story, number two is story, number three is story. Good actors can save a bad script and make it bearable, but good actors can't make a bad script good - they can just make it bearable.
Sometimes laughing isn't the best judge of what's funny, 'cause I think there's a lot of things that are really funny that don't make you laugh, that don't make you physically, audibly make a noise, but is something that is much more powerful than that.
When I create a story, I can make it however funny, sad, or happy I want it to be. And when I read, I feel like I'm in the story, and I get to experience it. It feels like I'm watching someone else do something, but I'm doing the thing that the character is doing as well.
I'm sure everyone's got their back story. I don't come from a place of where I was tortured and needed to let something out. I came from a very happy home. I was a little out of control at times. But my family... we all liked to be funny, we all liked to make each other laugh.
Thing is, I'm a funny actor, but I'm not good at being funny. I'm going to ramble for a second: I'm an actor who can make things funny in the moment, like in stakes or in circumstances or out of character.
I start with a tingle, a kind of feeling of the story I will write. Then come the characters, and they take over, they make the story.
A man who tells secrets or stories must think of who is hearing or reading, for a story has as many versions as it has readers. Everyone takes what he wants or can from it and thus changes it to his measure. Some pick out parts and reject the rest, some strain the story through their mesh of prejudice, some paint it with their own delight. A story must have some points of contact with the reader to make him feel at home in it. Only then can he accept wonders.
You have to do three things really well to make a successful film. You have to tell a compelling story that has a story that is unpredictable, that keeps people on the edge of their seat where they can't wait to see what happens next. You then populate that story with really memorable and appealing characters. And then, you put that story and those characters in a believable world, not realistic but believable for the story that you're telling.
I think a lot of humor is about distracting yourself. Pretend you're not trying to make it funny. Because for some reason the effort to be funny smells like sulphur in our culture.
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