DZ-110: Voiceover

Listen to explore how voiceover can set tone, reveal character, enhance empathy, and create tension.

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 (to this episode) answering Patreon Abigail’s question —

"I'm currently writing a screenplay where the twist relies on the audience believing the narrator is a different character until Act III. Thus, have been thinking a lot about casting and audience voice recognition, etc. Would be interested in hearing thoughts on this."

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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"The tone is huge in a noir show in particular. This is like a noir show set in high school. And the voiceover kicks that off and keeps it consistent all the way throughout." — Mel Killingsworth @ 00:10:33

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CHAPTERS

00:00:00 – Cold Open

00:00:23 – Voiceover craft levers to pull

00:03:48 – VERONICA MARS (Pilot)

00:07:15 – › How voiceover compresses narrative and sets tone

00:12:34 – › Who Veronica talks to and what she wants from the audience

00:19:41 – › Voiceover as a tool for revealing character motivation and lies

00:27:23 – › Cumulative effect of voiceover choices on tone and empathy

00:32:43 – THE EMPEROR'S NEW GROOVE

00:36:36 – › Voiceover as unreliable narrator and the low-point frame

00:40:27 – › Temporal origin of voiceover and its effect on character

00:44:08 – › Voiceover tense, omniscience, and empathy maintenance

00:49:53 – › Consistent voiceover strategy across the whole screenplay

00:54:11 – PAIN & GAIN

00:57:29 – › Multiple voiceover characters and their introduction pattern

01:02:29 – › Temporal origin of voiceovers and the court case frame

01:09:50 – › Voiceover as dramatic irony and audience positioning

01:24:28 – › Cumulative thematic effect of collective voiceover

01:31:30 – Key Learnings & Wrap Up

01:33:19 – › Temporal origin of voiceover as the master lever

01:39:34 – Thanks Patreons!

FILMS

THE EMPEROR'S NEW GROOVE (2000) — (w) David Reynolds, Mark Dindal, Chris Williams, Mark Walton (d) Mark Dindal

PAIN & GAIN (2013) — (w) Christopher Markus, Stephen Mcfeely (d) Michael Bay

SHOWS

VERONICA MARS 1x1 "Pilot" — Mark Piznarski (d), Rob Thomas (w)

LINKS

Listen: Backmatter for DZ-110: Voiceover

EPISODES IN THE TALKING DIRECTLY TO THE AUDIENCE SERIES

DZ-109: Talking DIRECTLY to your audience

DZ-110: Voiceover

DZ-111: Unreliable Narrators and FIGHT CLUB

DZ-112: Breaking the 4th wall

DZ-113: Tools For Filmmakers To Talk To The Audience

RELATED EPISODES

DZ-18: Michael Bay - F*ing the Frame and P*ing the Page

DZ-109: Talking DIRECTLY to your audience

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