Listen to understand how breaking the 4th wall directly involves the audience in a character's emotional present.

As part of our series on how filmmakers can directly communicate to the audience, we finally examine the most blatant tool of them all: when character look directly down the barrel of the camera… and thus look directly at us, the viewer. Chas, Stu and Mel take the craft tools/levers they identified in previous episodes and use them to examine the tv-version-of HIGH FIDELITY ("Top Five Breakups"), ABBOTT ELEMENTARY ("Attack Ad)") and - of course - FLEABAG.

By examining how “in-world” the camera is, who is talking, and whom the character is talking to (i.e. who we are in the relationship), we end up discovering how breaking the 4th wall can involve the audience in the emotional present of the character and also grants the character a degree of narrative control (a craft lever that can be dialled in and out).

Separately, in a Backmatter to this episode (which can be found on our Patreon page), Mel and Chas answer a listener question and take a deep dive into how breaking the 4th wall changes the RELATIONSHIP between you - the viewer - and character.

This episode brought to you by (drum roll) ArcStudio: go to $30 off a pro subscription! Thanks to Chris Walker for his excellent editing this episode.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

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→ Read the transcript for this episode.

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"She's trying to work herself out in some ways. Like it's the reason a lot of people write in their diary or self-talk or do have a running monologue or encourage that. Like she's trying to understand and explain herself and in doing so maybe hopefully help herself." — Mel Killingsworth @ 00:35:50

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CHAPTERS

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EPISODES IN THE TALKING DIRECTLY TO THE AUDIENCE SERIES

RELATED EPISODES

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We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-112/