Ryan Hall seeks some writing advice.
I am currently taking a class on comedy sketch writing, and wonder if you have any advice with regard to sketch. Pretty open ended question I understand, just things that you think are important. Thanks.
My two suggestions for sketch writing: Have a definite ending in mind and make the sketch as funny as you possibly can.
The first point is especially important. So many sketches start with a funny idea but then peter out. (See 90% of SNL sketches over the last 40 years.) Part of the problem is that the sketch is built on one joke. See if there is comic mileage in the premise beyond just one joke. Otherwise, it gets very repetitive.
Also, (I know this is more than two suggestions): shorter is better. Don’t let your sketch drag. Be ruthless.
DARON72 asks:
I would love Ken's take on eight turkey day themed episodes of "Friends" being shown at your local megaplex this Thanksgiving as one of those Fathom Events.
I think it’s great UNLESS the writers don’t get paid for it. Because if theatres are charging for tickets, Warner Brothers is making more money off the franchise. And the writers need to be compensated.
Perhaps they are. I hope so.
But there may be loopholes in their contracts. Same with the actors.
This is why it is imperative you have an entertainment attorney go over your contract. There is always tons of fine print. Attorneys will strike most of it and the studios automatically cave. But if you don’t flag those things then the studio’s got you.
Here’s one from Anonymous. Please leave your name.
Friday Question: Ken, do you think sometimes reviewers "grade" a new show more generously when it stars a well-known or likable actor? For instance, I thought the pilot for "Carol's Second Act" was lame and unfunny, and I was surprised that many of the reviewers weren't that harsh. They didn't all love it, but many of them gave tepid reviews or were willing to withhold a harsher final judgment, and even the critical reviews managed to say nice things about Patricia Heaton. I like Patricia Heaton too, but I'm wondering if you had that same pilot with an unknown actor (even if this unknown delivered a similar performance) in Heaton's role, it would get much worse reviews. Do you think this is true, and if so, should it be? Should an actor who's done two great long-running sitcoms deserve more benefit of the doubt that her new show will find its way?
Yes, there is a certain amount of good will that comes from actors who have been kind to the press, agreed to do interviews, etc. Critics like to keep those pipelines open. And it’s human nature to want people you like succeed.
But I don’t know a single reputable TV critic who will praise a show they hate simply because they’re friendly with the star.
On the other hand, I do believe some critics base their reviews not on the relative merits of the show but on its prospects for success. In other words, they don’t want to be caught giving THIS IS US a bad review if they think it’s going to be a hit show. They don’t want to look foolish or out-of-step.
Not all critics do this, but I have seen a few. I suspect more than one or two of the glowing reviews for EL CAMINO were predicated more on the zeitgeist than the actual product.
And finally, from Astroboy (since baseball is just around the corner):
Ken, in your opinion, what announcer working today, radio or TV has the best home run call?
Jon Miller of the Giants. And there’s the knock-off version of his call as stolen by Charley Steiner of the Dodgers.
Y’know, there was a time in radio when disc jockeys would steal each other’s acts. But these stations were local and if you were in Cleveland you never heard the San Francisco DJ who originated some Cleveland jock’s act. So you thought the Cleveland guy was original.
But Jon Miller’s home run highlights are on Sportscenter and MLB TV. Every other night you can hear him and then Charley’s imitation. The only real difference is Jon’s calls are actual home runs. Many of Charley’s home run calls are caught at the wall.
from By Ken Levine
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