Thanks again, Prof. Walter. I suppose you have to decide before the time that you write a comedy and make them laugh or a tragedy and make them cry, or scare the bejeezus out of them with a horror film. But beyond that, I agree that it is all about the story. The guy I referred to is Dr. Angus Fletcher. He presents a course on screenwriting for the Great Courses. He has supposedly done "script-consulting" in Hollywood with some of the biggest studios and works for Project Narrative. He admits that he is a heretic. His is an unusual take on screenwriting, but it is too mechanical for me. Thanks again for taking the time to answer my question. I appreciate the attention.
It's interesting that you give the Lucy Show wedding dress example as an example of reverse engineering. Could it be that in comedy you may have a punchline that you have to work to? That's your end and the writer has to work out the best way to get there? Lucille Ball was a great physical actor and also brilliant at visual gags, I can see how a writer working for her would need to be always thinking about the punchline. So is that a different kind of writing than a standard feature? The brilliant punchline at the end of Some Like It Hot may be a counter example. I read that Wilder went into production without an ending. Now that must have been scary and exhilarating. Yesterday I showed that film to some students who hadn't seen it before and it was an absolute joy to hear their squeals at hearing the final line for the first time: Nobody's perfect. A great mantra for life, but would you start a film with that idea in mind? So I guess I agree with you. Story is all. But if the comedy is coming from the situation (2 guys have to cross-dress to get a gig) or the punchline - Lucille has to roller skate in a wedding dress - are they different kinds of writing? There is an exhilaration in edging your way to a punchline which I think Wilder did, which is quite different from being given your gag image. I think you have inspired me to get back to my own rom com and my substack. Thanks, Richard. Inspiring as ever.
Thanks, Jane, for listening, and for sharing your worthy insights. I'd say the only difference between writing comedies and other kinds of screenplays, is that comedy is harder. It's less tolerant of soft focus. In action/adventure/melodrama if you're nearly on target, you may be okay. But in comedy, you're on the bus or off the bus. It's funny or it's not. They laugh or they don't.
God be with you Richard, enjoy your pod casts,also hope it's not to cold and snowy there, it sutr is here in Calgary
Thanks again, Prof. Walter. I suppose you have to decide before the time that you write a comedy and make them laugh or a tragedy and make them cry, or scare the bejeezus out of them with a horror film. But beyond that, I agree that it is all about the story. The guy I referred to is Dr. Angus Fletcher. He presents a course on screenwriting for the Great Courses. He has supposedly done "script-consulting" in Hollywood with some of the biggest studios and works for Project Narrative. He admits that he is a heretic. His is an unusual take on screenwriting, but it is too mechanical for me. Thanks again for taking the time to answer my question. I appreciate the attention.
The more views, the merrier! I wonder if Angus also worked as a screenwriter himself. Thanks for listening, and stay tuned.
Richard
It's interesting that you give the Lucy Show wedding dress example as an example of reverse engineering. Could it be that in comedy you may have a punchline that you have to work to? That's your end and the writer has to work out the best way to get there? Lucille Ball was a great physical actor and also brilliant at visual gags, I can see how a writer working for her would need to be always thinking about the punchline. So is that a different kind of writing than a standard feature? The brilliant punchline at the end of Some Like It Hot may be a counter example. I read that Wilder went into production without an ending. Now that must have been scary and exhilarating. Yesterday I showed that film to some students who hadn't seen it before and it was an absolute joy to hear their squeals at hearing the final line for the first time: Nobody's perfect. A great mantra for life, but would you start a film with that idea in mind? So I guess I agree with you. Story is all. But if the comedy is coming from the situation (2 guys have to cross-dress to get a gig) or the punchline - Lucille has to roller skate in a wedding dress - are they different kinds of writing? There is an exhilaration in edging your way to a punchline which I think Wilder did, which is quite different from being given your gag image. I think you have inspired me to get back to my own rom com and my substack. Thanks, Richard. Inspiring as ever.
Thanks, Jane, for listening, and for sharing your worthy insights. I'd say the only difference between writing comedies and other kinds of screenplays, is that comedy is harder. It's less tolerant of soft focus. In action/adventure/melodrama if you're nearly on target, you may be okay. But in comedy, you're on the bus or off the bus. It's funny or it's not. They laugh or they don't.