Fleabag (2016)
Featured In
DZ-60: Unfilmables 1 - Engaging imagination
How can unfilmables enhance the experience of your script?
*AKA Why your screenwriting guru is wrong *… →
⏱ 2h 25m
7 AUG 2019
DZ-63: Tools for Better Dialogue (Part 2) - Hook and Eye
How can you create flow and contrast in your dialogue?
A full three years after the first instalment (and one of our most popular), Stu and Chas have kidnapped Stephen Cleary to once again develop some craft tools around dialogue. It would be fair to say that - in that time - all three have learnt a lot more about dialogue than they knew in 2016. It would be also fair to say that Stephen perhaps learnt a little more through his research into “genderlect”… →
⏱ 1h 58m
31 DEC 2019
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A full three years after the first instalment (and one of our most popular), Stu and Chas have kidnapped Stephen Cleary to once again develop some craft tools around dialogue. It would be fair to say that - in that time - all three have learnt a lot more about dialogue than they knew in 2016. It would be also fair to say that Stephen perhaps learnt a little more through his research into “genderlect”… →
Films:
Fleabag (2016)
Shows:
Fleabag
DZ-109: Talking DIRECTLY to your audience
What are the different ways a filmmaker can ask something of the audience?
AI✦Analyses how voiceover and fourth-wall techniques function across the diegetic-to-non-diegetic spectrum, interrogating whether Fleabag’s direct address serves exposition, character psychology, or tactical manipulation of audience perspective.✦
Listen if you've wondered what a character actually wants when they're talking directly to the audience!?
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What are the different ways a filmmaker can ask something of the audience… →
Films:
Fight Club (1999)
, Fleabag (2016)
, The Big Short (2015)
, F for Fake (1973)
, Star Wars (1977)
DZ-112: Breaking the 4th wall
How is the effect of breaking the 4th wall different to voiceover?
AI✦Examines how Fleabag’s direct address to camera functions as a self-interrogation tool, using the character’s running monologue to reveal the gap between her self-understanding and self-deception–particularly in season two, where intrusive thoughts mask deeper truths about her emotional defenses.✦
Listen to understand how breaking the 4th wall directly involves the audience in a character's emotional present.
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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… →
"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 | DZ-112: Breaking the 4th wall
Referenced In
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