Posted by Kathy Lyford

Showtime’s "Dexter" winds up its third season on Sunday.


Dexter’s taken care of his little problem with his first real friend, Miguel Prado, who betrayed him. But he’s left himself in a bit of jeopardy with Miguel’s brother. How will he extricate himself from that? And will he go through with his pending nuptials with Rita, the mother of his unborn child? Meanwhile, will Dex and his colleagues at the Miami PD finally catch The Skinner? Tune in Sunday to Showtime and learn the answers to all these questions.

In the meantime, enjoy this chat with "Dexter" showrunner Clyde Phillips (left), who answers questions submitted by Season Pass readers. Clyde also created the ’90s era comedies "Parker Lewis Can’t Lose" and "Suddenly Susan" and worked as a writer and producer on one of the truly underappreciated series of recent years, "Boomtown."

I caught up with him via email while he was in Connecticut on hiatus from "Dexter," which recently earned a pickup for seasons 4 and 5. Also, this week, "Dexer"  garnered nominations from both the Writers Guild of America and the Producers Guild of America for best drama series to go along with the Golden Globe noms it received Thursday for best drama series and for star Michael C. Hall. We’d like to congratulate Clyde and the entire cast and crew on that well deserved recognition.

Enjoy the Q&A. We start with the question Clyde and I liked the best, asked by Matthew. He will receive a DVD set of season 2. (I’ll contact you via email, Matthew.)

DexterkillQ. One of the most unique characteristics of “Dexter” is that it contains a delicate mixture of dramatic tension and wonderfully dark comedic timing, two successful components due mostly in part to the inclusion of Dexter’s internal dialogue. As a fellow writer myself, I find the art of internal monologue and voiceover to be incredibly difficult, especially in a “show it, don’t  tell it” medium. What I would like to know is, do you find it  difficult to develop Dexter’s character through the use of internal dialogue, seeing as how it is commonly regarded as a storytelling crutch? — Matthew
A. The whole issue of doing a “voiceover” show is interesting. Personally, I’ve done quite a few, but nothing like “Dexter.” Here’s the thing: Dexter, because of who he is, has no one to talk to, no one to share his truths… except you, the audience. We feel that one of the reasons the show connects with the viewers to the extent it does is because the audience has become his collective confidante. There’s a reaching across invisible lines, a peek into Dexter’s innermost process that only the audience is privy to. In other shows voiceover can certainly be a storytelling crutch. But we believe, when used judiciously, it can enhance a relationship between the audience and the character that otherwise would not be possible.

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