My first few films were institutional comedies, and you're on pretty safe ground when you're dealing with an institution that vast numbers of people have experienced: college, summer camp, the military, the country club.
I've always thought that comedy was just another dramatic expression. I try to measure the amount of truth in a work rather than just looking at the generic distinction between comedy and drama. There's a lot of bullshit drama that leaves you totally cold. And there's a lot of wasted comedy time too. But when you get something honest, it doesn't matter what label you give it.
The times change, and to the extent that comedy captures the spirit of the times, it will enjoy success.
Comedy is essentially made by young men, or older men with some form of arrested development, for young men or immature older men.
I've always thought that comedy was just another dramatic expression.
When someone's an actor and you're an actor, you meet them and you feel like you know them. We're in the same business, and we all speak the same comedy language.
I try to measure the amount of truth in a work rather than just looking at the generic distinction between comedy and drama.
Most comedy is not very ambitious. You probably can't name more than a handful of comedies that would qualify for Best Picture.
You can perceive life as tragic, or you can laugh at the tragedy of it and that turns it into comedy. It doesn't change the circumstances.
Most comedies are calculated. They tend to pander. They're not about anything important.
For me, most comedy scripts fail in the mechanical playing-out of the setup. They'll pay lip service to a moral lesson or a psychological progression.
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.
Groundhog Day was pretty clean. It may have to do with some puritanical feeling that comedy is a forbidden pleasure in a certain way. They make you laugh, and laughter is somehow an inferior emotion to tragedy.
I'd rather do comedies that strike at some bigger ideas.
Well, for me, it's the relationship between comedy and life - that's the edge I live on, and maybe it's my protection against looking at the tragedy of it all. It's seeing life in balance. Comedy and tragedy co-exist. You can't have one without the other. I'm of the school that anything can be funny, if seen from a comedic point of view.
I met someone who said they'd figured out my genre: "madcap redemption comedy." I'll buy that.
I did a comedy with Al Franken about his character Stuart Smalley, which was really about alcoholism and addiction and codependency. It had some painful stuff in it. When we showed it to focus groups, some of them actually said, "If I want to see a dysfunctional family, I'll stay home."
I can't imagine a successful comedy movie without a successful comedy performance at the heart of it.
I'm thinking of doing a marital comedy for one of the studios, but I want it to be so painful that it'll have a profound effect on married couples who see it together.
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