Comedy Features

I’ve been recently asked to develop an idea, originally created for TV, as a feature. I’m having a rough time. The structural difference is really suprising. For TV, you want to create a concept and characters that will constantly fodder small but interesting story arcs. For a feature, you need one big story arc. All of the scenes need to drive into one another and crescendo into a climax. And at the end of the day, your characters need to have really changed.

In an effort to overcome my block, I’ve begun analyzing plots from some of my favorite comedy movies, and attempting to discern what the common, archetypal structure might be. Here’s what I’ve come up with so far:

1) The hero is in a state of resigned discontent about his or her life.
– he’s a 40-year old virgin
– she’s a loser who can’t find the right guy
– they have horrible bosses

2) Some inciting incident occurs which challenges the status quo and spurs the hero on to a quest to fix the situation and fulfill his/her proper destiny.
– her best friend gets engaged (seems to be a very common one)
– the high school crush returns to town
– two friends have to move in together
– they witness a crime and have to go on the run
– he/she suffers some kind of accident/memory loss

I have noticed that contemporary comedies tend to start out with less dramatic states of discontent than classic gut-busters of old. They tend to focus more on the hero’s state of psychological discontent than on major outside forces that are working against him or her.

3) The hero experiences mild success as a result of taking action.
– the virgin gets a date with a surprisingly cool chick
– the hero gets a promotion
– everyone wants to join the new fraternity that the hero(es) started

4) Everything falls apart. Usually because the initial success that the hero has gained has been predicated on a lie, or some other illegitimate means. OR, the hero just plain screws up his or her success (either way, it seems to stem from the hero’s own shortcomings). The malcontent is exacerbated by outside circumstances, such as a misunderstanding on the part of the girl/boss/friend, etc.

5) Now it is not enough for the hero to simply get on with his or her life. If the failure is due to a mistake or deceit, a simple “I’m sorry” won’t cut it. The hero must make some grand gesture or overcome some bigger, systemic problem and “save the day”. Indeed, a common formula seems to be a public confession, after which the hero slinks away, but then has some kind of “wait a minute!” moment and embarks on a final plan to fix the problem.
– he must actually save the girl from the bad guys
– she must find her friend and get her to the wedding on time
– he/she stands up to the evil real estate developer and stops them from demolishing the orphanage (I can’t think of what movie this is,
but I definitely remember seeing it. Anyone?)

6) The hero redeems his or herself and “lives happily ever after”.
– he gets the girl/job/house/business he always wanted
– the crooks are vanquished and killed/arrested
– he/she is accepted into the “cool group.” Or perhaps more commonly, a NEW cool group emerges, featuring the hero and his/her new band of
misfit friends.

This is a typical underdog/hero comedy. Also popular are what you might call the “anti-hero” comedy – basically a reversal of the above scenario, in which the hero starts out in a state of perfection/utopia, which in turn is threatened or taken away. The hero must then fight to get it back… but usually learns along the way that the original “utopia” actually wasn’t that great, and in turn, the TRUE meaning of happiness. Great examples of this include “Overboard”, and “Van Wilder”.

I would LOVE to hear thoughts, challenges, exceptions, and interesting variations to the above.

New Funny or Die video

From my troupe, “The Sketchrapy”:

http://www.funnyordie.com/videos/c28e1a3530/churchopoly

ALERTS TO THREATS IN 2011 EUROPE by JOHN CLEESE

John Cleese is one of the wittiest men alive. One of his and Monty Python’s favorite devices is to use very intelligent, “upper class” tone and language to describe very silly things. Also notice his brevity; not a single extra word.

ALERTS TO THREATS IN 2011 EUROPE By JOHN CLEESE

The English are feeling the pinch in relation to recent events in Libya
and have therefore raised their security level from “Miffed” to “Peeved.”
Soon, though, security levels may be raised yet again to “Irritated” or
even “A Bit Cross.” The English have not been “A Bit Cross” since the
blitz in 1940 when tea supplies nearly ran out. Terrorists have been
re-categorized from “Tiresome” to “A Bloody Nuisance.” The last time the
British issued a “Bloody Nuisance” warning level was in 1588, when
threatened by the Spanish Armada.

The Scots have raised their threat level from “Pissed Off” to “Let’s get
the Bastards.” They don’t have any other levels. This is the reason they
have been used on the front line of the British army for the last 300
years.

The French government announced yesterday that it has raised its terror
alert level from “Run” to “Hide.” The only two higher levels in France are
“Collaborate” and “Surrender.” The rise was precipitated by a recent fire
that destroyed France ‘s white flag factory, effectively paralysing the
country’s military capability.

Italy has increased the alert level from “Shout Loudly and Excitedly” to
“Elaborate Military Posturing.” Two more levels remain: “Ineffective
Combat Operations” and “Change Sides.”

The Germans have increased their alert state from “Disdainful Arrogance”
to “Dress in Uniform and Sing Marching Songs.” They also have two higher
levels: “Invade a Neighbour” and “Lose.”

Belgians, on the other hand, are all on holiday as usual; the only threat
they are worried about is NATO pulling out of Brussels .

The Spanish are all excited to see their new submarines ready to deploy.
These beautifully designed subs have glass bottoms so the new Spanish navy
can get a really good look at the old Spanish navy.

Australia, meanwhile, has raised its security level from “No worries” to
“She’ll be alright, Mate.” Two more escalation levels remain: “Crikey!I
think we’ll need to cancel the barbie this weekend!” and “The Barbie is
cancelled.” So far no situation has ever warranted use of the final
escalation level.

– John Cleese – British writer, actor and tall person

The Sketchrapist

I recently started up a comedy troupe, “The Sketchrapy”… or, “Sketch Therapy”, with the talented Elizabeth Pennington, Kasey Arnold and Andrew Egger. Here’s our first video:

http://www.funnyordie.com/videos/a805d2b83e/the-sketchrapist

Conan O’Brien on creativity

Critic’s Notebook: At play with the department of ‘Parks and Recreation’

Here’s a great article on (in my opinion) the breakout show of 2010-11, and the changing paradigms in comedy:

Eeyore porn

I googled the word Eeyore, because I wasn’t sure how to spell it, and this was the third thing that came up!

(safe for work)

David Caruso and his one-liners

Was doing research for a CSI Miami sketch I’m writing and came across this, which might be a better commentary on the show than I could ever do.

Begs the question… how seriously do you think David Caruso takes himself?

Ricky Gervais: Politics

Ricky Gervais is one of the few comedians who can navigate such nimble territory as the Holocaust, all while laughing at his own jokes.
(Content Warning: it may make you uncomfortable, but you’ll probably still laugh uncontrollably)

You can watch his whole set in 7 parts on YouTube.

A familiar conversation for some…

She: So you’re a comedian, huh? Say something funny.

He: Something funny.

She: (stares at him blankly)