Let’s make comedy approximately equal to providing happiness, then there are two ways to be happy: one is that your current situation is better than before, that is, the axis does not move, and the point is improved; the other is to see that others are worse, that is, you do not move. The coordinate axis/frame of reference is lowered. If the movie provides the first kind of happiness, it cannot benefit you through the screen, but can only let you become the protagonist. This requires sufficient plot and duration, and the result is that emotions slowly climb. But [laughs] need quick happiness: For example, a thunderbolt usually drops one hundred million from the sky so you can only laugh wildly. This is 0 becomes a positive number, or a serious narrative suddenly becomes nonsense, which relieves you of your sense of vigilance. This is a negative number. 0, in short, it becomes better suddenly, complete in a flash. Therefore, the protagonist's slow way of victory can only be turned into inspirational stories and dramas, at most joyful, rarely hilarious.
Therefore, the real comedy usually uses the second method. Suddenly, a funny, neurotic, awkward, shit-eating situation appears. The time is short, and the emotions must be released in an instant; the time is short, you have no way to understand him, emotionally Just be regarded as the "other", and then you can [gloriously]-the tragedy of people you don't care about can contrast and enhance your happiness.
According to this principle, comedies rarely show the personality or fate of the jokes, only appearances and results, fast-paced, weird, failed, or gaffeful words and deeds every ten minutes. As Chaplin said: Life is a comedy from a distance, but a tragedy from a closer look. Unfolding the logical chain behind the absurd and funny will make people sad; similarly, telling the behind the miracle will make people embarrassed.
In short, in addition to relying on the type of lines, comedy is basically a tragedy that has been roughly edited, with thin characters, unsteady narratives, and lack of deep expression. The so-called movies that have laughed and have tears use various means to let the audience understand or compare something.
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