This week we spotlight a 2007 post where John considered how in-universe TV broadcasts can be a useful tool (or a too on-the-nose device).
I just finished writing a scene where a television news report was playing in the background and it reminded me how hard it is to get these moments right. Unless youâre literally having the characters stare at the TV set, youâre basically dividing the audienceâs attention between two planes of information. If you donât do it carefully, the audience wonât know where to look, and the scene will be a disaster.
Off the top of my head, here are four (hopefully) helpful guidelines:
The TV can only tell you one thing. It can say the big snowstorm is coming, but it canât also say that mobster Carmine DeSomethingorother has escaped from custody.
Use the naturally empty moments of the scene. If thereâs information thatâs important for the audience, but not necessarily the characters, start on the TV and let the characters enter the scene where itâs playing. If a characterâs waiting on hold, or is looking for dijon mustard in the fridge, thatâs another moment you could cut to the TV.
Get the rhythm right. TV news in particular has a cadence, and you canât just shove your exposition in to make it fit. Always think how the reporter would actually report the story and balance his goals with your goals.
Donât make it too convenient. Donât have a character flip on the TV, only to find exactly the story about them â unless it really is reasonable that thereâs 24-hour coverage about the situation. Perhaps the only thing worse than this clichĂ© is when a character rushes in, saying, âYouâve got to see this!â before grabbing the remote.
On the whole though, itâs amazing how little television people watch in movies as opposed to real life.
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đŁ Have ideas for future topics (or just want to say hello)? Reach out to Chris via email at inneresting@johnaugust.com, Mastodon @ccsont@mastodon.art, or Threads @ccsont@threads.net