Saturday 28 January 2023

A funny way to tell a story


There’s been a lot of talk lately of MCU style writing, meaning the kind of quip-filled dialogue which doesn’t take the story seriously. Characters behaving like high schoolers made sense in Buffy, where they actually were high schoolers, but is a lot less effective when the mighty Thor says lines that you’d expect from Xander Harris.

Good writers know that their writing must be true, and thus it must include humour because humour is a part of life. Also that the humour must be in-character, not any old joke that will raise a laugh – then it’s not cinema, it’s panto. Thor’s comments in the first movie are funny because they are how an arrogant Asgardian god might see our world. But six years later: ‘He’s a friend from work,’ is the director* sneering at you for taking superhero movies seriously.

That’s the lazy way to get a laugh, which is just to have characters in a fantasy setting use slangy modern idioms. But the writers who began the trend did it with serious intent; they still wanted you to believe in and care about their story. They were looking for ways to make the audience relate to the characters, and clearly lots of ‘Prithee, varlet’ dialogue wasn’t going to do it. There is plenty of humour (I hope you will agree) in Mirabilis, but Leo and I try never to put a line in a character’s mouth if it isn’t true to the moment and spoken in their voice.


Undercutting tension with humour can be very effective if it’s true to character. Look at Steed and Mrs Peel, most especially in the scene at the end of “The House That Jack Built” when the defence mechanism of their insouciance almost breaks down. But for the writer who doesn’t care, it’s a short step from there to having every character reach for the glib line that will get a laugh.

It is unjust to call this MCU writing. The entire Captain America trilogy managed to include humour in a way that rang true. The Russo brothers’ Avengers movies likewise. And in any case, Marvel didn’t invent the trend. Look at the Universal monster series. They start off selling us the story straight with Dracula, Frankenstein, The Mummy. Four years on, The Bride of Frankenstein is most definitely Whedonesque – or perhaps we should say that Joss Whedon’s writing is Hurlbutian. It took Universal a bit longer to get into their non-stop gag phase but Abbott & Costello Meet Frankenstein could easily match Thor: Love and Thunder or Willow for hey-it’s-all-a-joke silliness.


And, as a writer, how do you know when that funny line you’ve thought of serves the story and when it’s going to kill immersion? Well, that’s the job, isn’t it? But if you need some pointers, this video by author Brandon McNulty is an 8-minute masterclass in the use of humour:


* Yes, we all know that particular line was suggested by a kid who was visiting the set. But it's the director's choice whether to include it, and it fit in with the tone he decided on for the whole movie.

7 comments:

  1. Excellent post.

    I'm surprised that you didn't mention Dr. Who, which gave up treating its audience with respect some years ago and seems to think that infant school humour is the way to go.

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    1. Good point, Steve. I gave up on Doctor Who precisely because of that.

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  2. Great post, as always.
    Also, to be fair to the 'Friend from work' line, that was apparently from a child that Chris Hemsworth had met through Make a Wish. So there was a good reason why that line at least seems a bit immature.

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    1. Yes, that's explained in the article I linked to above. But the responsibility for putting the line in the movie rests with the director, and it's no more random a joke than the ones he wrote himself in Love & Thunder.

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    2. Ah, sorry, I didn't use that link. And you are right that the director decided to include that.
      I guess I would make sure I include appropriate humour by reading about people in different situations and seeing what kind of jokes they came up with to cope. If I remember correctly, I think there was a lot in Man's Search for Meaning about how Victor Frankl kept his humour in a concentration camp. I'm pretty sure it did not involve making Joss Whedon Quips, though.

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    3. Joss has written a lot of great lines. There's a temptation when you're trying to get a script past network execs to stuff jokes in whether they work for the character or not. They always love jokes. I've done it myself, though I always go back and make sure everything is right for each character later.

      The principle doesn't just apply to putting gags in a script, though. It's important to be true to each character's voice. That doesn't mean the writer has to give up their own signature style (listen to Odets, or Pinter, or Mamet, who all get it right) but when every character speaks exactly the same that's bad writing.

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  3. On the other hand, there was no excuse for War Machine snarking all the time on the last two Avengers movies, including at a PTSD suffering Thor. He should know better.

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