Character humor is just one vein of many that are part of the most classic, timeless, beloved comedies that we remember. Whether combined with satire, farce, or a hefty dose of irony, it never hurts to at least try and dabble in character humor, in hopes of, among other things, deepening your characters and their three-dimensionality beyond the archetypes they initially represented.
Here are some important upsides to this underrated element.
IT BUILDS CHARACTER (AND CAN SAVE TIME)
That's an obvious one, right? But the medium of film allows you far less time to establish your characters than a book (or even a play). Comedy springs from your characters' misery, misfortune, inconvenience, imperfections, etc., with humor being so dependent on context.
Or in this man's case, sheer incompetency.
You can still build your characters and their dynamics like in other genres, and find humor in their roles as foils, opposites, etc. after you've done so. Also, since comedy relies so much on timing, long-winded explanations are often a humor killer, so time-saving is essential in maintaining your work's natural rhythm.
IT CAN AVOID BEING DATED
"Mamma mia!"
Above: not an example.
As I said in my "How to be Timeless" post, this avenue isn't completely foolproof, especially since the framing of a character's attitude, for example, can date surprisingly quickly, but sticking closer to a trait or source of irritation of theirs that is more universal than "up to the minute" will avoid some of the fallout from the passage of time.
For example, ever notice how some newer comedies rely on topical humor, even if it's framed as the ramblings of a character we're supposed to hate? Imagine watching that in an era where the topic at hand is "beaten into the ground", and the viewer may not even care to see what said ramblings say about that character.
Presumably.
IT CAN COMPEL YOUR CHARACTERS TO DRIVE THE PLOT
Goldfinger is a fine movie, but a common (and not unfounded) criticism of its third act is how James Bond does little to drive the plot. Rather, it's the actions of Pussy Galore and Felix Leiter (and their respective personnel) who help foil the bulk of Goldfinger's plan.
It really is absurd how Bond is not part of this large-scale battle sequence.
In comedy, humor can arise from external factors (bad luck, bad weather, absurd crimes committed by others) and internal (pride, jealousy, lust, protectiveness), but you might get too swept up in the former category and just be thinking up as many absurd scenarios as possible. The downside is that your characters may fall by the wayside in audience attention, and bring the plot itself to a halt.
Character humor is one of the many "cheats" to bring your attention to the emotional side of your story. What do they feel about one of those absurd situations, for example? Are they terrified? In denial? So hopped up on a vice that they've tuned out entirely?
For example.
Similar to Rule #13 of Pixar's "22 Rules of Storytelling" ("Give your characters opinions."), passive characters who "just have stuff happen to them" can really fall into a "boring" trap without careful consideration to emotion, effort, and motivation. James Bond in Goldfinger does escape his cell, escape Oddjob and Fort Knox, and dispose of the title villain through his own wits and ingenuity, but Goldfinger's gassing plan is foiled due to sheer luck (from the perspective of Bond and the audience) and can rob the climax of one "payoff" for some viewers of this series. (On that, your mileage may vary.)
In short, "sticking to the emotional side" of your characters will tap into your natural drive to spring them into (usually-logical) action.
IT CONTRIBUTES TO THE CONSISTENCY
Consistent characters are a foundational hallmark to any great story, but are arguably even more important in comedy, so the audience will have an idea what the movie wants them to laugh at.
How familiar is a character's defining trait to other characters? Is it obvious despite the first character trying to hide it? Or do they succeed in hiding it, but still struggle with the ramifications?
Conversely, does a given character have a reputation around their town? If so, is it because they are accident-prone? Irresponsible? So infamous that they'll flat out be refused insurance coverage (even
where it's illegal for that to happen?). The more you think about what a character trait means throughout a story, setting, and dynamics, the more you can use for the character humor in your work.
Ambulance chaser "Whiplash Willie" Gingrich is so shifty, so cunning,
so infamous, that his mere presence (and what it means for those around him)
makes The Fortune Cookie that much more enjoyable.
Copyright © Chynna Moore
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