FunnyTown's first TownMeeting, featuring special guest comedy writer James Cary - Part One
If you are familiar with the New York Times Opinionator discussions between David Brooks and Gail Collins (otherwise known as The Conversation), behold FunnyTown's own version of this style, we're calling TownMeeting. We are excited to welcome James Cary, a British comedy writer well-versed in a wide range of comedy, especially sitcoms, as the inaugural contributor to this series.
James Cary is a comedy writer for BBC TV and Radio. His most recent work on TV was with Miranda Hart on BBC2's hit sitcom, Miranda (nominated for RTS Award and BAFTA). He also co-wrote Miranda Hart's Radio 2 sitcom, Miranda Hart's Jokeshop (nominated for a Sony Award). He is developing various new shows which are in the pilot script stage. He has written three series of BBC Radio 4's sitcom Hut 33. Before that, he wrote four series of Think the Unthinkable, starring Marcus Brigstocke and David Mitchell. It won a Silver Sony with its first episode. He also was the lead writer on Radio 4 sketch show, Concrete Cow with Robert Webb and Olivia Colman. James has also written episodes of My Hero and My Family for BBC1. He is just written his fourth series of Another Case of Milton Jones with, er, Milton Jones for BBC Radio 4. His script editing work includes Recorded For Training Purposes (BBC Radio 4), Gigglebiz (CBeebies) and Mr Bloom's Nursery (CBeebies). He has also written a thoroughly readable yet highly unsuccessful novel, Crossword Ends in Violence (5) about D-Day, codes, crosswords and chess. You can read James' blog on comedy here. He is represented by David Higham Associates. For more info, go here.
Laura "sat down" with James from across the ocean to talk British vs. American comedy.
Laura: First I want to thank you, on behalf of FunnyTown, for humoring me by participating in this conversation about British vs. American comedy. I'm hoping this turns into a meaningful and fun discussion. I'd like to kick things off with one simple question: if you could describe the average American sense of humor in 50 words or less, what would it be? Feel free to expound on it. I'll return with how I would describe the average British sense of humor.
James: I just couldn't. Sorry. America's a big country of 300 million people and has produced Lenny Bruce and Jay Leno. The British like to comfort themselves that the Americans have no sense of irony, and like simple, sentimental comedy (e.g. Friends). And yet this just doesn't chime with the reality since the biggest American shows like The Simpsons and Seinfeld are riddled with irony. And now there's the Daily Show, The Onion and 30 Rock. And let's not forget one of the greatest shows of all time was M*A*S*H. A sitcom set in a mobile field hospital during the Korean war. What's that all about? 50 words? 5000 wouldn't be enough.
Laura: I'm not surprised you find it difficult to pin down the American sense of humor. The fact is that our senses of humor have always varied, but only with the recent diversification of media consumption has this become more apparent. Did you know that The Cosby Show was actually the last sitcom to achieve a blockbuster audience in the U.S.? At its peak it averaged 33.7 in Nielsen ratings, while Seinfeld's best was 21.7. Every popular show since the '90's hasn't really come close. There are so many shows to watch, so many ways to watch them, and so many different kinds of people to laugh at them. I will say that shows like 30 Rock and The Daily Show don't exactly get stellar ratings and are still considered niche shows, compared to The Big Bang Theory, the most popular sitcom right now. I think you can argue that The Big Bang Theory does appeal to the average American viewer, who likes corny jokes, goofy characters, maybe a little irony but not much subtlety. Same with Two and a Half Men.
Perhaps I am wrong to think I can describe the average British sense of humor in 50 words or less, but here goes: a mix of dry irony and biting wit with dabs of sarcasm, satire and dignified playfulness, best characterized by shows like The Office, Blackadder, and Yes Minister. What do you think? Am I wrong? Do we need to dispel any myths about the British sense of humor as well?
James: The shows that are watched by the biggest audiences are rarely the shows that are deemed to be truly 'great'. I guess the biggest recent example in U.S. is Arrested Development which was a monumental hit for a small audience (myself included). Good comedy can be like a fine wine. Most people could take it or leave it. Those who've tried a lot of wines tend to gravitate to the good stuff. Either way, most people are not prepared to pay for it. Hence Arrested Development didn't make it to the end of a third season, which was a crying shame.
Sometimes, there is an overlap between the big ratings and being a big hit with the critics. In Britain, the show Only Fools and Horses delighted audiences and critics alike - which is why it was it was deemed to be Britain's Best Sitcom in a poll a few years ago. In terms of finding a British sense of humour, there is a dryness and a hopelessness about all of the great British shows - like Blackadder, Yes Minister, The Office, Porridge, Hancock, Steptoe and Son. In that way, it's always annoyed me that Seinfeld was never truly given a chance in the UK because it's so British - the characters are selfish and unsympathetic. There's 'no hugging and no learning'. The Brits have an aversion to schmaltz, so it's always annoyed me that Friends was a gigantic hit in UK and Seinfeld was never given a chance.
Laura: That is very true. Shame about Arrested Development, one of the greatest shows to ever grace the tube. I've never heard of Only Fools and Horses, so I'll have to check it out. I know we're focusing on television, but allow me to get off track a little. Is there a market in Great Britain for what I call "Will Ferrell" comedies? That is, the opposite of dry humor? Do those types of movies have a large audience over there? I'm thinking of Anchorman, Talladega Nights, Wedding Crashers, etc. Do you think they resonate with Brits the way they do with Americans?
James: I wish there were a market for Will Ferrell comedies. Ferrell's an interesting case because he's making big mainstream comedy movies, but they all have a much more off-beat sense of humour than the big, dumb blockbuster comedies (I'm thinking American Pie and The Hangover-type movies). The British movie industry just isn't producing hits. The ones they are producing are hardly even being screened and making it into the box office top ten. A recent mainstream comedy made by Brits is a The Decoy Bride starring the much loved British actor David Tennant- and it's barely been screened and stands no chance of making its money at the box office. The critical reception to the movie has been mixed - but that's the case with plenty of American movies that makes tons of money.
Some of my favourite movies of all time have been British. I've always had a soft spot for Nuns on the Run, starring Robbie Coltrane and Eric Idle. I also loved Staggered, starring Martin Clunes. But these are old movies, now. It's not as if the British are cranking out five movies a year like this. I have no idea why that is. It can't be lack of talent, because Hollywood is crawling with successful British comedy writers, directors, producers and actors.
Stay tuned for part deux tomorrow...
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