A couple of weeks ago in the Improv workshop I attend we did an exercise that well… produced very few laughs (I’m being charitable). One of the class members had done this exercise years before in a different venue to better results. Back then they had a piano accompanying them, waited longer between punchlines, and had different sight lines. He suggested that not having those elements may have contributed to the lack of laughter. Okay, he might have a point.
But there was something else to consider. And in this case, in my best professional judgment, it was this other factor that truly explained it.
We all SUCKED.
It just wasn’t our night, not with that exercise. Sometimes that happens. Sometimes you have a hot night and everybody is hilarious. And then there are nights when it’s a struggle. That night was a Herculean struggle.
I bring this up because comedy writers are always wrestling with this dilemma. When something doesn’t work it’s our job to determine why and how to fix it. And it’s easy to say, “The air conditioning was faulty, his tie was crooked and caused a distraction, the actor mumbled a key word, the camera didn’t frame him properly, the audience was blocked by the boom mic,” etc. Any and all of those factors could have been the problem. But I’ve learned to first ask, “Is it us? Did it not get a laugh because it’s a bad line?”
It’s only after I honestly determine that the joke should have worked do I start considering outside influences. But the bottom line is I blame myself first. And it’s all a function of being as objective as you can possibly be.
I remember the first year of CHEERS we were rewriting a script, someone came up with a joke that Glen Charles loved, and he said, “That’s the best joke of the entire season.” The next day at runthrough it bombed and when we got to that line in the rewrite he said, “Jesus. What were we thinking with that piece of shit?”
Having a piano playing underneath would not have helped that joke. Being tough on material means being tough on yourself. But it’s worth it. At least I sure hope so because that accounted for a lot of late night rewrites I’ll never get back.
from By Ken Levine
But there was something else to consider. And in this case, in my best professional judgment, it was this other factor that truly explained it.
We all SUCKED.
It just wasn’t our night, not with that exercise. Sometimes that happens. Sometimes you have a hot night and everybody is hilarious. And then there are nights when it’s a struggle. That night was a Herculean struggle.
I bring this up because comedy writers are always wrestling with this dilemma. When something doesn’t work it’s our job to determine why and how to fix it. And it’s easy to say, “The air conditioning was faulty, his tie was crooked and caused a distraction, the actor mumbled a key word, the camera didn’t frame him properly, the audience was blocked by the boom mic,” etc. Any and all of those factors could have been the problem. But I’ve learned to first ask, “Is it us? Did it not get a laugh because it’s a bad line?”
It’s only after I honestly determine that the joke should have worked do I start considering outside influences. But the bottom line is I blame myself first. And it’s all a function of being as objective as you can possibly be.
I remember the first year of CHEERS we were rewriting a script, someone came up with a joke that Glen Charles loved, and he said, “That’s the best joke of the entire season.” The next day at runthrough it bombed and when we got to that line in the rewrite he said, “Jesus. What were we thinking with that piece of shit?”
Having a piano playing underneath would not have helped that joke. Being tough on material means being tough on yourself. But it’s worth it. At least I sure hope so because that accounted for a lot of late night rewrites I’ll never get back.
from By Ken Levine
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