Fourth Wall Quotes

I loved Bob Hope and the way he would turn to the camera and break the fourth wall.

Onstage, there's a separation between character and audience; onscreen, you can go to a deeper place.

Bad acting comes in many bags, various odors. It can be performed by cardboard refugees from an Ed Wood movie, reciting their dialogue off an eye chart, or by hopped-up pros looking to punch a hole through the fourth wall from pure ballistic force of personality, like Joe Pesci in a bad mood. I can respect bad acting that owns its own style.

It's so difficult to write good music. It's also really difficult to think about how to do it without violating the sanctity of the fourth wall.

You are in a strange world in pantomime, where you are allowed to step out and talk to the audience and do silly gags. Sometimes I feel like a cartoon character.

In cinema, you can see an actor but he can't see you. On stage, there's a one-to-one and an eye-to-eye connection.

The great thing about writing 'Deadpool' is that he can demolish expectations and typical comic book conventions with monster truck force. There are few other characters who can transition so easily from one type of story to the next.

There's always something at least a little smug about self-reference - magazine articles about idealistic journalists, TV shows about TV actors, ironic films within ironic-er films: all this meta-media populated by thinly disguised characters making oblique inside jokes.

Imagining things are there that are not really there, with the green screen, is very much like theatre, when you're looking at the fourth wall.

What good is a character who's always winking at the audience to let them in on the secret?

There's no environment. Use your imagination. There's no fourth wall, whether it's the first time you've told this story about her life, or the sixth time.

Drag breaks the fourth wall, which is why it's never been quite accepted, because nobody wants to be told that they are really a caricature of themself and to not take yourself too seriously.

Musicals are, by nature, theatrical, meaning poetic, meaning having to move the audience's imagination and create a suspension of disbelief, by which I mean there's no fourth wall.

As a comedy writer, I'm always praying for the day I can tell a self-aware/break-the-fourth-wall style of joke.

There's a way in which 'The Illusion' is a play about the theater.

I'm just not made for that kind of live audience where you don't create a fourth wall.

Historically, we have seen cis men play trans women and vice versa. That casting breaks through the fourth wall, and it gives people the message that trans people are being played by cis men in real life, which is where we get this idea of men in dresses.

You know, it's nice on a sitcom to have an audience there, but there's still a wall of cameras between you and them.

In drama, you're interacting with other actors to tell the story. The camera is like the theater: it's the artistic fourth wall. In a screen play, you don't look at the camera and communicate with it. But with hosting, you're looking right into the lens and talking to the people. It is a different style, and it's fascinating.

It is the idea that it's a movie in a movie. So I did it.

Above all, in comedy, and again and again since classical times, passages can be found in which the level of representation is interrupted by references to the spectators or to the fictive nature of the play.

Wrestling has progressed to the point that the fourth wall has been broken. People would enjoy more seeing what is behind the superhero that they watch on TV.

A lot of the times, reality shows don't like people to break the fourth wall. With a docu-series or a documentary, everyone breaks the fourth wall because you're talking to the camera quite a bit.

I always felt like an outer-space alien. I was always breaking the fourth wall.

If you're doing stand-up, there is no fourth wall; you're engaging an audience.