"It's rare that you cut out something that is really good. You screen all of it, and when the audience doesn't respond, you cut out whatever is holding the story down"
About this Quote
Wayans is smuggling a brutal creative ethic into a line that sounds almost polite: the edit isn’t a referendum on talent, it’s a referendum on momentum. Comedy people love to mythologize the “killed darlings” moment, as if great jokes routinely die on the cutting-room floor out of artistic purity. Wayans calls that bluff. If something is really good, it usually survives because audiences will tell you it’s good in the only language that matters: a response you can’t negotiate with.
The subtext is a defense of test audiences and live feedback as a kind of democratic truth serum. You can “screen all of it” in your own head forever and still be wrong; the room exposes where your pacing drags, where exposition overexplains, where a bit you love is actually a speed bump. His phrasing matters: you don’t cut what’s “bad,” you cut what’s “holding the story down.” That shifts the standard from individual moments to overall lift. The unit of value is narrative propulsion.
Contextually, it fits Wayans’s factory-model comedy legacy - sketch, parody, ensemble filmmaking, rapid iteration. In that ecosystem, the ego fantasy of the untouchable “perfect scene” is expensive. The intent is practical and unsentimental: protect the throughline, keep the movie moving, treat laughter (or silence) as data. It’s also a quiet warning to creatives: your attachment is not the same thing as quality, and “great” that doesn’t play is just private amusement with a production budget.
The subtext is a defense of test audiences and live feedback as a kind of democratic truth serum. You can “screen all of it” in your own head forever and still be wrong; the room exposes where your pacing drags, where exposition overexplains, where a bit you love is actually a speed bump. His phrasing matters: you don’t cut what’s “bad,” you cut what’s “holding the story down.” That shifts the standard from individual moments to overall lift. The unit of value is narrative propulsion.
Contextually, it fits Wayans’s factory-model comedy legacy - sketch, parody, ensemble filmmaking, rapid iteration. In that ecosystem, the ego fantasy of the untouchable “perfect scene” is expensive. The intent is practical and unsentimental: protect the throughline, keep the movie moving, treat laughter (or silence) as data. It’s also a quiet warning to creatives: your attachment is not the same thing as quality, and “great” that doesn’t play is just private amusement with a production budget.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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