"I always prefer the big laugh. That is always the objective, especially with a film like Scary Movie 2"
About this Quote
Wayans is tipping his hand: the joke is the only moral compass that matters. “I always prefer the big laugh” isn’t just a personal taste; it’s a mission statement for a kind of comedy that treats subtlety as a luxury and restraint as the enemy of momentum. The word “always” is doing heavy lifting here, insisting on a hierarchy where comedic payoff outranks elegance, plausibility, even good taste. That’s not carelessness. It’s a craft choice.
The subtext is defensive and proud at the same time. Spoof movies get dinged as cheap, noisy, or juvenile, and Wayans is essentially saying: yes, and? If you’re making Scary Movie 2, the goal isn’t to impress the critic who wants satire with a thesis. The goal is to make a crowded theater lose composure at the same moment. “Big” is about volume, but also about accessibility: comedy as a communal hit, not a private smirk.
Context matters: Scary Movie 2 arrives in the early-2000s peak of franchise horror and mass-market parody, when audiences were fluent in references and studios rewarded opening-weekend impact. Wayans understands the economy of that moment. A “big laugh” is a currency that travels across demographics and doesn’t require homework. It’s also a way to claim authority over the genre’s rules: if a gag lands, it justifies the absurdity that delivered it. In Wayans’ world, the laugh isn’t the byproduct. It’s the proof.
The subtext is defensive and proud at the same time. Spoof movies get dinged as cheap, noisy, or juvenile, and Wayans is essentially saying: yes, and? If you’re making Scary Movie 2, the goal isn’t to impress the critic who wants satire with a thesis. The goal is to make a crowded theater lose composure at the same moment. “Big” is about volume, but also about accessibility: comedy as a communal hit, not a private smirk.
Context matters: Scary Movie 2 arrives in the early-2000s peak of franchise horror and mass-market parody, when audiences were fluent in references and studios rewarded opening-weekend impact. Wayans understands the economy of that moment. A “big laugh” is a currency that travels across demographics and doesn’t require homework. It’s also a way to claim authority over the genre’s rules: if a gag lands, it justifies the absurdity that delivered it. In Wayans’ world, the laugh isn’t the byproduct. It’s the proof.
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