DZ-111: Unreliable Narrators and Fight Club

How does the unreliability of a narrator impact the way a story is told?

In this episode, Stu and Mel (sans Chas!) take a deep dive into FIGHT CLUB and its use of the unreliable narrator. This is a bridging episode between our previous episode on VOICEOVER and our forthcoming episode on TALKING TO CAMERA as Fight Club does both.

We dissect the film’s disconnected sequence-driven structure and how the voiceover ’stitches’ the film together.  And then we look at what makes ‘Jack’ an unreliable narrator and how his control over the storytelling impacts us. 

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:

  • 00:00:01 – Cold Open
  • 00:00:20 – Fight Club
  • 00:24:57 – Unreliable Narrators
  • 00:49:09 – Key Learnings & Wrap Up
  • 00:54:07 – Many thanks to our Patrons!

RELATED EPISODES:


How can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Paulo, 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, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

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DZ-110: Voiceover 

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

What are the different ways a filmmaker can ask something of the audience?

Chas and Stu are joined by recurring guest Mel in this prelude episode to upcoming episodes on Voice Over and Breaking the Fourth Wall. In this episode, we attempt to taxonomise the different ways filmmakers can ask something directly of their audience. To this end, we identify 4 levers that can be pulled:

  • Diagetic to non-diagetic (in story world to outside story world)
  • Who is talking? From story-teller to a character
  • Whom are they talking to? Themselves or directly to the audience?
  • From when in time is the communication coming?

They then take these levers and ask a series of questions, including:

  • What does the communication want from the audience?
  • Does the audience know who’s talking?
  • How reliable is the information?
  • How aware is who is communicating of the audience?

They then apply these questions and levers to… deep breath… STAR WARS, ROBOCOP, STARSHIP TROOPERS, KILLERS OF THE FLOWER MOON, MINORITY REPORT, CHILDREN OF MEN, NEVER HAVE I EVER, ARRESTED DEVELOPMENT, STRANGER THAN FICTION, DUNE, OPPENHEIMER, YELLOWJACKETS, HUSTLERS, THE OFFICE, MASTERCHEF, ZOMBIELAND, FLEABAG, PRETTY LITTLE LIARS, THE BIG LEBOWSKI, SPONTANEOUS, BLACKKKLANSMAN, AMERICAN FICTION, AMERICAN SPLENDOR, THE KILLER, VERONICA MARS, FIGHT CLUB, SHUTTER ISLAND, SIXTH SENSE, HAUNTING OF BLY MANOR. FALL OF THE HOUSE OF USHER, GOODFELLAS, EMPERORS NEW GROOVE, THE TRUMAN SHOW, HOW I MET YOUR MOTHER, DIE HARD, THE BIG SHORT, THE USUAL SUSPECTS, DERRY GIRLS, THE LAST JEDI, THE LAST DUEL, RASHOMON, BONES AND ALL, ARCHIVE 81, SANS SOLEIL, F IS FOR FAKE, THE PRINCESS BRIDE, THE BALLAD OF BUSTER SCRUGGS, JULIUS CAESAR, GUARDIANS OF THE GALAXY Vol. 1

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
  • 00:00:49 – Distinguishing communicating directly to the audience
  • 00:04:32 – Different levers in how to communicate to the audience
  • 00:09:20 – Who is communicating? 
  • 00:26:13 – Does the audience know who’s talking? 
  • 00:40:00 – From what time is the communication coming from? 
  • 00:40:50 – How reliable is the communication? 
  • 00:46:08 – How aware are the characters of the communication?
  • 00:58:35 – Analysing edge cases 
  • 01:07:37 – What effects do all these have on the audience? 
  • 01:16:00 – Key Learnings and Wrap Up
  • 01:19:00 – Patreon thanks 

RELATED EPISODES:

How can we forget our awesome Patreons, especially Lily,  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, 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