How is the effect of breaking the 4th wall different to VoiceOver?

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 HIGH FIDELITY, ABBOTT ELEMENTARY 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 to 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.

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

Thanks to Chris Walker for his excellent editing this episode.

---

CHAPTERS

00:00:00 – Cold Open
00:00:17 – What is “barrelling”?
00:13:45 – HIGH FIDELITY
00:39:46 – ABBOTT ELEMENTARY
01:04:09 – FLEABAG
01:40:54 – Key Learnings
01:50:48 – Patreon thanks

RELATED EPISODES

• Backmatter on Breaking the 4th Wall
• DZ-109: Talking DIRECTLY to your audience
• DZ-110: Voiceover
• DZ-111: Unreliable Narrators and Fight Club 

---

This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

And how can we forget our awesome Patreons? Especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

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

BUY DRAFT ZERO MERCH via TeePublic
SUBSCRIBE TO SHOT ZERO via Substack

How can you use Voiceover without it feeling like a cheat?

In this episode, we finally delve into the world of VOICEOVERS (as part of our larger series exploring craft tools that allow characters & storytellers to talk directly to the audience). Chas, Stu and Mel deep dive into the VERONICA MARS pilot, Disney’s THE EMPEROR’S NEW GROOVE, and the Michael Bay epic PAIN & GAIN. 

In exploring what makes these particular examples of Voiceover great (and not feel like a cheat or a well-worn trope), we apply the four levers identified in our Part 1 (in particular ‘when in time is the Voiceover coming from’). In this episode we discover how Voiceover can set tone, reveal character motivations, enhance viewer empathy, or even create tension.

Don’t forget to check out the Backmatter (https://www.patreon.com/posts/backmatter-for-105083575) to this episode answering Patreon Abigail’s question.

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

Thanks to Chris Walker for his excellent editing this episode.

---

CHAPTERS:

• 00:00:00 – Cold open
• 00:00:23 – Voiceover craft levers to pull
• 00:03:48 – Veronica Mars (pilot)
• 00:32:43 – The Emperor’s New Groove
• 00:54:11 – Pain & Gain
• 01:31:30 – Key Learnings & Wrap Up
• 01:39:34 – Thanks Patreons!

RELATED EPISODES:

• DZ-109: Talking DIRECTLY to your audience
• DZ-18: Michael Bay – F*ing the Frame and P*ing the Page

---