"Sometimes I would like the opportunity to do character-driven comedy and that's really what I was trying to do in Meet The Parents. I think in a way this is a more old fashioned type of comedy"
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Roach is quietly staking a claim for craftsmanship in a genre that rarely gets treated like craft. “Character-driven comedy” is industry code for jokes that aren’t pasted onto a premise but grow out of behavior: people making choices, doubling down, panicking, trying to save face. In Meet the Parents, the funniest moments aren’t one-liners so much as spirals of escalating self-inflicted damage. The humor lands because it feels inevitable, not because it feels clever.
The interesting move is his insistence on “opportunity,” as if this approach is harder to finance or justify than gag-forward comedy. That’s a peek behind the curtain: Hollywood comedy cycles through trends, and by the late ’90s the marketplace was increasingly allergic to anything that sounded “small” or “slow-burn.” Roach frames his aim as almost contrarian, choosing a style that relies on pacing, discomfort, and relational tension rather than pure punchline velocity.
Calling it “old fashioned” isn’t nostalgia so much as a bid for legitimacy. He’s aligning himself with a lineage of studio comedies built on social anxiety and status games (awkward courtships, intimidating fathers, humiliations at dinner tables) where the audience laughs because they recognize the trap. Subtext: the movie’s engine is not Ben Stiller’s mugging or De Niro’s deadpan; it’s the classic setup of a man auditioning for acceptance and failing in ways that reveal character. Roach is arguing that the form still works because human insecurity still does.
The interesting move is his insistence on “opportunity,” as if this approach is harder to finance or justify than gag-forward comedy. That’s a peek behind the curtain: Hollywood comedy cycles through trends, and by the late ’90s the marketplace was increasingly allergic to anything that sounded “small” or “slow-burn.” Roach frames his aim as almost contrarian, choosing a style that relies on pacing, discomfort, and relational tension rather than pure punchline velocity.
Calling it “old fashioned” isn’t nostalgia so much as a bid for legitimacy. He’s aligning himself with a lineage of studio comedies built on social anxiety and status games (awkward courtships, intimidating fathers, humiliations at dinner tables) where the audience laughs because they recognize the trap. Subtext: the movie’s engine is not Ben Stiller’s mugging or De Niro’s deadpan; it’s the classic setup of a man auditioning for acceptance and failing in ways that reveal character. Roach is arguing that the form still works because human insecurity still does.
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| Topic | Movie |
|---|---|
| Source | Help us find the source |
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