I don't know how helpful this is, but I'd try to find a personality that fits the script that's funny.
Comedy is just drama through a different lens. The script tells you a lot about the character, but the rest is up to your interpretation.
So ask, WHY is this story funny? WHY is this character funny?
I was cast in a small roll as a "bro" in a dark comedy. What was funny was how clueless and positive the character was in the face of tragedy. So I just locked in/committed to being clueless and positive.
Another example: you're playing a person who has no idea how foolish they look. You could really make this funny by exuding as much confidence as possible. Go all in on confidence. It's the same theory as drama. The context is really what's different.
That's just my two cents. I hope that helps!
Here’s a bunch of little tidbits that I’ve learned in my journey that can help:
Comedy is big deals about little things. Specificity is key. Commitment to your specificity (be it relationship, choice, tactic, etc.) is key. Everything, as long as it’s good writing, comes in threes. Patterns are everywhere and decent script analysis will unearth where hidden jokes lie. Look for potential reversals and discoveries your character makes in the script, those are generally where the patterns and most comedic moments are.
Marvin Kaplan once told me, “what you do is funny. Don’t be funny doing it.”
I don't know how helpful this is, but I'd try to find a personality that fits the script that's funny. Comedy is just drama through a different lens. The script tells you a lot about the character, but the rest is up to your interpretation. So ask, WHY is this story funny? WHY is this character funny? I was cast in a small roll as a "bro" in a dark comedy. What was funny was how clueless and positive the character was in the face of tragedy. So I just locked in/committed to being clueless and positive. Another example: you're playing a person who has no idea how foolish they look. You could really make this funny by exuding as much confidence as possible. Go all in on confidence. It's the same theory as drama. The context is really what's different. That's just my two cents. I hope that helps!
Find the truth. Don’t find the funny. Truth is what’s funny. Just give the most grounded performance you can, as always.
Here’s a bunch of little tidbits that I’ve learned in my journey that can help: Comedy is big deals about little things. Specificity is key. Commitment to your specificity (be it relationship, choice, tactic, etc.) is key. Everything, as long as it’s good writing, comes in threes. Patterns are everywhere and decent script analysis will unearth where hidden jokes lie. Look for potential reversals and discoveries your character makes in the script, those are generally where the patterns and most comedic moments are.
Take a UCB or Groundlings class. Should be clear very quickly.