Film & TV

Dialogue

Judd Apatow

Lesson time 11:29 min

A joke always works better when it is true to character. Learn how to use your characters’ desires, insecurities, and personalities to craft realistic, funny dialogue.

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Judd Apatow
Teaches Comedy
Judd Apatow teaches you how to write, direct, produce, and perform comedy for film and television.
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In every scene, the characters want something, and sometimes they want different things. And that's really what you're tuning into to write the dialogue. So if Seth Rogen is sitting with Katherine Heigl, she might want one thing. She wants to know more about him before she tells him she's pregnant. So she's feeling him out, and she knows she has this thing that she has to tell him that she's really scared to tell him. And she's trying to determine, is this someone I can go through this with? He doesn't know that. He thinks he's on a date, and so he's trying to win her over. He probably wants to sleep with her again. He can't believe this beautiful woman will even sit down with him again. And that's the clash. That they are coming from completely different places until the information comes out. Then suddenly they might want completely different things, from that moment on. And that's what you're trying to figure out with every scene. What do these people want? If Steve Carell is confronted by Catherine Keener, and she says I don't want to wait for 20 dates, I want to have sex right now, what he wants is not to have sex right now because he's afraid. And he's afraid if it goes badly he's going to lose her. And she's horny. She wants to have sex right now, and she's also offended that he doesn't, and she doesn't understand why he doesn't. And it hurts her feelings. And she's insulted. So they both have very strong attitudes that are clashing. And there are secret feelings that they're not sharing with each other. She might be yelling at him when really what she's thinking is, you've just hurt my feelings. And he might be making up all these lies and excuses, but really what he's thinking is, I love you so much, I feel like if we have sex right now I might lose you forever. And that's what makes it interesting. Gary used to always say, people very rarely tell you what they're actually feeling. People don't tell the truth. They wear masks, they're trying to present themselves in a certain way to the world, and most of the time, it's not the truth. So someone might be acting cocky to cover for the fact that they're terrified or they're needy. And that when they do tell the truth, it's usually a really big deal. If someone opens up to you and says, I'm scared to death that this project is terrible and I'm bad at my job, it's a big deal. But usually they're pretending they're great at their job. In the poker scene in the 40-Year-Old Virgin, all he wants is for them to think he's cool. All he wants is for them to think he's had sex before. So he's lying, but really he's lying because he's ashamed, and he's insecure. And then as soon as he says he's a virgin, and they're excited to help him-- well maybe they're excited to help him because it makes them feel superior to him. Maybe it makes them feel like, oh I must be a better person than I thought I was, because at least I'm not a virgin like this guy. And maybe if I help him lose his ...


Get serious about comedy

No joke: at age 15, Judd Apatow took a dishwashing job at a comedy club to watch the acts. Today, he’s the comedic genius behind hits including The 40-Year-Old Virgin, Knocked Up, Bridesmaids, and Freaks and Geeks. In his first-ever online comedy class, the Emmy Award winner teaches you how to create hilarious storylines, write great stand-up, and direct movies that leave audiences laughing.



Reviews

4.7
Students give MasterClass an average rating of 4.7 out of 5 stars.

Judd Apatow knows what he's talking about. Really enjoyed his masterclass. as it was concise and full of great practical advice. I suppose I love his films and stand up so it made it easy to immerse myself.

Honestly, I didn't really knew Judd Apatow but this class was a real revelation. He really gives the best lecture about how to be clever in comedy but really how being funny is nothing much without substance and empathy. I love it. Thanks to him ! ;)

I felt that this was an excellent class! It helped me get back to the basics of storytelling. On the creative end, I thought it was an important reminder to surround myself with people who are fantastic at the things in which I am NOT -- I don't have to do everything. Above all -- write, write write, and create, create, create!

Such a treasure trove of experience and wisdom. Thanks for sharing with us, Judd!


Comments

Donna G.

I'm taking this course just because I am taking my first course in standup comedy and wanted to get some hints. But I am finding the other parts of the course, on scriptwriting, character development, storyline to also be very helpful. I can use some of these techniques to try to come up with my first jokes, a process I'm finding remarkably hard.

EK T.

I know a group of talented actors at The Actors Studio Pace. I have had a few table reads with them in groups, or I have had individual actors read the script aloud. When actors stumble over the same lines, I know its time to make changes. however, before I get to that point, as I begin rewriting my first few drafts, I used the "assigned voice" feature in the Final Draft program, to read the words aloud and give me an idea how the words sound scene by scene. It is extremely helpful.

EK T.

The other subject that cannot be taught. I was anxious for this lesson to be over.

Odane C.

Wow i had to listen this without watching it so i could imagine every word.

Daniel B.

This lesson makes me want to go back and revisit dialogue I have written already and revise the conversations for better depth in character development.

George C.

I signed on to Masterclass primarily for Aaron Sorkin's lessons but decided to do this first. Judd's dialogue comes off very natural and consistent with the character whereas Sorkin's higher brow repartee doesn't always seem very natural (at least not like the people I hang with)... but it is interesting and effective, even elevating,..just different. Sorkin doesn't do jokes. He does wit.

BJ A.

I love the observations Judd makes about the psychology of people. We just hate to admit to our vulnerability and those who can, have and provide for others, a lot more laughs in life.

Stephen T.

Please answer this question! Why in one scene, he says bag of sand, like he has never touched a boob. And in another flashback scene, he grabs the undeclared chick's boob through her bra before she inauspiciously sucks on his toe. I would definitely remember feeling a boob the first time, in bed, before an angry chick screams at me, "you'll be a virgin forever." Continuity error? What gives?

Warren D.

The information makes the process of putting things together so much easier. It is asking the right question about the characters: what they would say; what is going on behind the mask. Does the dialogue seem authentic to the characters? Excellent material.

Jen G.

Really helpful advice, thank you so much. Base the jokes on your ch's personality, makes so much more obvious sense than w\ever tf I've been doing. also ha@ the granddad's balls joke. was stoked when Funny People ended on that. so human. Pitch perfect! \100