For Manson-Smith, the secret to great comedy is in the prep and, once you’re on set, in the belly, where gut instinct takes the director’s chair. “With drama you can work really hard at it, study a scene, where the characters are, and you can analyse it, get the crew together and execute it in a way that’s slick. But with comedy there is another, much bigger element of intuition, [of] what you think is funny, and you have to keep pushing performances in a way that is completely down to your own instinct. You need more of yourself in it, which is why a lot of the best comedy feels so particular. And you can’t prep for it in the same way."
If a joke is anything less than funny, you’ve got egg on your face. Whereas, if you do something that’s only 60 per cent as dramatic as you’d hoped it would be, it’s still pretty dramatic.
"With comedy,” he adds, “it’s more of a high-wire act. If you aim for something funny and miss, it’s a clear fail. If a joke is anything less than funny, you’ve got egg on your face. Whereas, if you do something that’s only 60 per cent as dramatic as you’d hoped it would be, it’s still pretty dramatic. So there is more of a danger with comedy. You need to know [it's funny] there and then, although you’d be amazed at how much more you can bring to it in the edit. But, generally, if you’re laughing on set, to the point where you have to stop or you’re ruining the scene, then that’s a keeper.”
The Link LonkMarch 18, 2021 at 08:03PM
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Misha Manson-Smith: Cutting to the funny bone | shots - Shots
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