"Ryan had this kind of visual comedy brilliance," he said.
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The costume designer Erik Teague's burlesque inventions — hens in gauze capelets, foxes sporting bustiers — imbued the forest with visual comedy.
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Corporate has always had a flair for the visual comedy that arises from presenting completely absurd situations with a straight face.
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He talked with me about drawing inspiration from unlikely sources in constructing the movie's story and what he looks for in a visual comedy.
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Rowan Atkinson argued, in his humour-dissecting documentary series "Funny Business", that one of the fundamental principles of visual comedy is appearances and disappearances.
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His work on movies like Bring It On, Down With Love, and The Break-Up marked him as a terrific director of visual comedy, sure.
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How about the way that the light visual comedy of the bread is juxtaposed with the cerebral, astringent humor of the phrase "pleasant forensic exercise"?
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There's certain comedies where it just feels like they're recording people being funny, and maybe they want to light it pretty, but it's not visual comedy.
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The idea of doing an episode with no dialogue that really focused on the visual comedy and the visual beauty of our show really appealed to me.
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And then also for me, having done comedies and different types of comedies, it was important to me from the very beginning to be able to do visual comedy.
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Then Miramax acquired that cut and tampered with it further, jettisoning more of the purely visual comedy, and hiring Jonathan Winters to give the once-mute thief an internal monologue.
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We sit around and talk about the funniest uses of this technology, and the visual comedy of it, which is why I think we talked about things like What's Up, Doc?
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The cast and crew of "The Lego Batman Movie" sustain that joke admirably, filling in its 104-minute running time with loads of busy action, deadpan humor, visual comedy, reflexive bits and an overfamiliar story line.
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The most wonderful bit of visual comedy in this episode is the moment when Dan, after preparing a tray for Tom, turns around and faces his mirror image: Gary, holding a tray he's just prepared for Selina.
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With the attention to detail and vibrant 3D animation we've come to expect from Pixar, this short helps introduce a living, breathing world steeped in Mexican family culture with a flair for visual comedy that would make Chuck Jones proud.
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Mr. Étaix (pronounced ay-TEX), an actor as well as a director, specialized in a deadpan visual comedy, animated by sight gags, funny sound effects and fantasy sequences that harked back to the silent films of Charlie Chaplin, Buster Keaton and Max Linder as well as his own background as a circus performer.
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In 2015, Vic and Bob received the Aardman Slapstick Visual Comedy Award for their significant contributions to the world of visual comedy.
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This 50-minute episode shows the mechanics at work in chapters that define visual comedy. Each section illustrates examples of mostly early visual comedy and references to the comedians, actors, and directors that defined these movements. The post-era visual comedy that is referenced is that of slapstick comedian Leslie Nielsen.
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All three Goodies have been regular attendees at Slapstick Festival in Bristol, and in 2011 they were awarded the Aardman Slapstick Visual Comedy Legend Award at the festival for the significant contributions to the field of visual comedy they've made over their lifetime.
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Inspired by Charlie Chaplin, Morph, Laurel and Hardy, Pingu, Buster Keaton, Jacques Tati, and Marty Feldman, Pompidou aimed to reinvent visual comedy for the twenty-first century, and create an international series for a global audience.
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With a distinct inner-city vibe and armed with a pair of binoculars, Mick was tempted to look "beyond the set" and peer into the windows of his neighbours. At the rear of the set was some large windows which looked out onto the neighbourhood. The end result was pure visual comedy. Some of Mick's neighbours were less than appealing, and most were just freaky.
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Born in Scarborough, Ontario, Richards grew up in Markham and later Astorville. He studied acting at York University between 1982 and 1986, working as a dresser at the Stratford Shakespeare Festival during summer breaks. After graduating from York in 1986, Richards formed a drag troupe, The BoHo Girls. Taking on the mantle of artistic director and designer, Richards honed a style of visual comedy which would inform later works.
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Don't Explain is a selection of skits, that contain no overall plot; the title is referencing this. There are, however, continuing themes throughout the show, one of which, is an attempt by Dave to get the hand held microphone off Shane; this leads to the climax, in which they both have microphones, and have a Face, Race and Chase Off. Another is the performance of visual comedy from Europe, by Hans And Klaus.
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The Slapstick Festival is an annual event in Bristol, United Kingdom. During the festival, which was created in 2005 by Bristol Silents, there are screenings of silent, classic, and visual comedy films. The intent of the festival is to introduce these films to a modern audience and bring them to life for a new generation of viewers. Most silent films are presented with musicians performing the score live, introductions by special guests, and various special events throughout the festival.
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Reunited with Planer the pair started performing at London's Comedy Store in 1979, calling themselves "The Outer Limits". They performed short sketches parodying different television styles, for example sitcom and American police drama. They used visual comedy and often mimed over-the-top scenes of cartoon violence. At this point, various television companies were taking note of the rapidly growing "alternative comedy" scene, BBC producer Paul Jackson being the first to commission a programme from regular performers at the Comedy Store.
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As with most Tati films, Mon Oncle is largely a visual comedy; color and lighting are employed to help tell the story. The dialogue in Mon Oncle is barely audible, and largely subordinated to the role of a sound effect. The drifting noises of heated arguments and idle banter complement other sounds and the physical movements of the characters, intensifying comedic effect. The complex soundtrack also uses music to characterize environments, including a lively musical theme that represents Hulot's world of comical inefficiency and freedom.
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A new television project entitled Woodley screened during 2012. It is a half-hour visual comedy about a largely innocent-seeming man who is caught up in real-world problems. The series follows his attempts to bond with his daughter and his estranged wife (Justine Clarke), though this proves difficult for the accident-prone Woodley, as she tries to move forward with her life with her new partner Greg. The show was announced with a number of other projects in a $1.2 million funding from the Victorian government.
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These types of short pieces were popular in Venice at the end of the 18th century and the beginning of the 19th century. The pieces were intimate, with a cast of five to seven singers, always including a pair of lovers, at least two comic parts, and one or two other minor roles. The style called for much visual comedy improvised by the players. As compared to many genres of opera, acting and comedic talent is more important relative to the required singing ability. Rossini’s farces also have a significant sentimental element.
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In Jour de fête, several characteristics of Tati's work appear for the first time in a full-length film. Largely a visual comedy in the silent tradition, dialogue is used at times to tell part of the story and an ancient woman with a goat appears sybil-like on occasions as commentator. Music is mostly diegetic, coming from the carousel, the village brass band and the pianola in the bar. Sound effects are a vital element, with imaginative use of voices and other background noises, particularly of birds, to provide both ambiance and humor.
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Robin Driscoll (born 28 June 1951) is an English actor and writer, best known as a writer of Mr. Bean. He and Rowan Atkinson are close friends; he appeared with Rowan Atkinson in Funny Business (1992) – Visual Comedy, a documentary on the mechanics of visual humour. As an actor, he has appeared in episodes of television shows such as Only Fools and Horses ("The Jolly Boys' Outing"), Murder Most Horrid, Dear John, Alas Smith & Jones, Wilderness Road and The Fast Show. He has a son, Sam Driscoll, who is also an actor.
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Atkinson's often visually based style, which has been compared to that of Buster Keaton, sets him apart from most modern television and film comics, who rely heavily on dialogue, as well as stand-up comedy which is mostly based on monologues. This talent for visual comedy has led to Atkinson being called "the man with the rubber face"; comedic reference was made to this in an episode of Blackadder the Third ("Sense and Senility"), in which Baldrick (Tony Robinson) refers to his master, Mr. E. Blackadder, as a "lazy, big- nosed, rubber-faced bastard".
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The film earned less at the box-office than his previous features and received mixed reviews, as some viewers disliked the politicising. Today, Modern Times is seen by the British Film Institute as one of Chaplin's "great features," while David Robinson says it shows the filmmaker at "his unrivalled peak as a creator of visual comedy." Following the release of Modern Times, Chaplin left with Goddard for a trip to the Far East. The couple had refused to comment on the nature of their relationship, and it was not known whether they were married or not.
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Shot in 70 mm, the work is notable for its enormous set, which Tati had built specially for the film, as well as Tati's trademark use of subtle yet complex visual comedy supported by creative sound effects; dialogue is frequently reduced to the level of background noise. The film was considered a financial failure at the time of its release. Playtime is considered Tati's masterpiece, as well as his most daring work. In 2012, Playtime was 43rd in the British Film Institute's critics' list and 37th in their directors' list of Top 50 Greatest Films of All Time.
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Most shots use a fixed camera which does not move with the action; characters walk in and out of shot from the sides. Set-ups are usually in long shot, with the characters backlit to provide contrast with the background; much of the action is built up by details within the shot. Close-ups are comparatively rare. (Only in occasional sequences do we see tracking shots, to follow a moving carriage, or rapid cutting, for instance to suggest Fadinard's growing panic in a dance scene.) The verbal dexterity of the original text is replaced with inventive visual comedy.
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But take those away, and the film feels no different from the mindless comedies that we have been seeing of late." Anupama Subramaniam of Deccan Chronicle wrote "The movie has the basics needed for the genre: innuendos, ambiguity in the phrases, double entendres, and visual comedy that seems both fated and accidental. But these elements alone don’t make for a complete picture - mindless dialogues and run-of-the-mill content puts this in the same category as most other average Tamil comedies." Ashameera Aiyappan of The Indian Express said "For a movie that has several comedians, Hara Hara Mahadevaki surprisingly fails with humour.
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Budget crises and other disasters stretched the shooting schedule to three years, including 1.4 million francs in repairs after the set was damaged by storms. Tati observed, correctly, that the cost of building the set was no greater than what it would have cost to have hired Elizabeth Taylor or Sophia Loren for the leading role. Budget overruns forced Tati to take out large loans and personal overdrafts to cover ever-increasing production costs. As Playtime depended greatly on visual comedy and sound effects, Tati chose to shoot the film on the high-resolution 70 mm film format, together with a complicated (for its day) stereophonic soundtrack.
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As Yankovic had difficulty in getting guests, he had sometimes tried to ask Leno's guests to appear on his show while they were waiting backstage; he had approached and secured Drew Carey's appearance this way. Writing for the show was challenged due to the E/I expectations demanded by CBS. CBS, through producer Dick Clark, frequently demanded changes to some of the visual humor written by Yankovic and the writing staff, fearing it was "imitable behavior" for children watching, and which limited how much visual comedy they could use. CBS also demanded a moral for each episode, and insisted that the moral had to be stated clearly at the start of each episode.
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An additional inconsistency is introduced with Tik-Tok of Oz: Hank the Mule cannot speak until reaching the Land of Oz, although he lands on the shore of Ev first, where Billina the chicken gained the ability to speak. This might be because Tik-Tok of Oz was originally a stageplay version of Ozma of Oz; Dorothy was replaced by Betsy because he had sold the stage rights for Dorothy, and Billina was replaced by Hank because a mule could more convincingly be played by two people in a costume. Hank probably could not talk because Baum already had two speaking comedy characters, the Shaggy Man and Tik-Tok. Thus Hank would fill a better niche as a visual comedy character, in the tradition of British pantomime.
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Scripts have been published at different times since the early 19th century, but none can be claimed as the definitive traditional script of Punch and Judy. Each printed script reflects the era in which it was performed and the circumstances under which it was printed. The various episodes of the show are performed in the spirit of outrageous comedy—often provoking shocked laughter—and are dominated by the anarchic clowning of Mr. Punch. Just as the Victorian version of the show drew on the morality of its day, so also the Punch & Judy College of Professors considers that the 20th- and 21st-century versions of the tale have changed into something akin to a primitive version of The Simpsons, in which a bizarre family is used as a vehicle for grotesque visual comedy and a sideways look at contemporary society.
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