Dialogue: The Art of Verbal Action for Page, Stage, and Screen

Questions About Dialogue: The Art of Verbal Action for Page, Stage, and Screen

by Robert McKee

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In Chapter 8 McKee suggests the "Trialogue" solution to the problem of on-the-nose verbal confrontations. He gives 4 examples, and while the first one (the mob couple funneling their contempt for one another into the canaries) made sense to me, the examples from Breaking Bad, Rushdie's novel, and Beckett's play didn't. I don't see how Heisenberg works in the Breaking Bad example. Can anyone elaborate?

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