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Sheriff Bart (Cleavon Little) speaks to the camera several times, and, at one point, rides his horse past a full orchestra playing the score for the movie. An old woman takes a break from being beaten by thugs to remark to the audience, "Have you ever seen such cruelty?" Hedley Lamarr (Harvey Korman) asks rhetorical questions while looking into the camera, then says, "Why am I asking you?" Later Lamarr tells his group of henchmen, "You will only be risking your lives, whilst I will be risking an almost certain Academy Award nomination for Best Supporting Actor!" Near the end of the film, the characters leave the fictional realm of Rock Ridge and enter the actual Warner Bros. studio, literally breaking a wall in the process. One character, just before he punches the director of another film, shouts "Piss on you! I'm working for Mel Brooks!" When Lamarr tries to escape into a movie theater, the movie he watches turns out to be Blazing Saddles itself, and he sees that the hero is still on his trail.
Clive Owen breaks this wall in the beginning of the film, giving him an omniscient persona.
- At the end of the film, the actors sing and dance in front of a billboard for the movie.
While observing a Faber College co-ed undressing through her dormitory window, a ladder-perched John Belushi acknowledges the camera by glancing back over his shoulder and raising his right eyebrow.
Rob (John Cusack) constantly engages in "conversation" with the viewer. For instance, when Rob's ex-girlfriend tells him that she and her new boyfriend haven't had sex "yet", he engages the viewer to try to figure out what she meant and whether she intends to have sex with the new boyfriend.
An after credit scene shows (Lance Armstrong) himself reading Dupree's self-help book (as Dupree had been reading Lance Armstrong's own novel earlier on), while sitting on a grass lawn. He then looks directly at the camera and wonders aloud how to pronounce his "ness" name and begins trying to find a proper way to pronounce it.
After seeing himself commit the same act on his television set, Max Renn (James Woods) gets on his knees, points a gun at his head, looks directly at the viewer and says the now infamous catchphrase "long live the new flesh." As soon as he pulls the trigger, the screen goes blank. Also, some characters (Renn included) will look straight into the camera sometimes.
When The Grinch is sneaking into a Who house, the narrator tells us what's happening then The Grinch asks the narrator to speak a little softer then the narrator whispers.
Halfway through the film the camera turns away from the characters to reveal the film's director (Ingmar Bergman) and his crew. Later, the "film" appears to burn and melt after one actor breaks character.
One Week (1920)
Buster Keaton's wife is in the bathtub when she drops the soap onto the floor. She is distraught when she realizes that she can't reach it without revealing herself. The cameraman places his hand in front of the lens long enough for her to retrieve it, earning him a look of gratitude.
The Great Dictator (1940)
In one of the first well-known uses of the technique, Charlie Chaplin stops the movie and gives a heartfelt plea to the audience about the need to do something about Hitler and the growing threat of fascism.
Duck Amuck (1953)
"Daffy Duck" who is tormented by a seemingly sadistic, initially unseen animator, who constantly changes Daffy's locations, clothing, voice, physical appearance and even shape. Pandemonium reigns throughout the cartoon as Daffy attempts to steer the action back to some kind of normality, only for the animator to either ignore him or, more frequently, to over-literally interpret his increasingly frantic demands.
Tom Jones (1963)
Various characters break off in the middle of their scenes to look into the camera and address the audience. Most famously, Tom Jones (Albert Finney) takes off his hat and hangs it on the camera lens to prevent the audience from seeing his tryst with Mrs. Waters (Joyce Redman).
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Breaking the fourth wall is when a character acknowledges their fictionality, by either indirectly or directly addressing the audience. Alternatively, they may interact with their creator (the author of the book, the director of the movie, the artist of the comic book, etc.). This is more akin to breaking one of the walls of the set, but the existence of a director implies the existence of an audience, so it's still indirectly Breaking The Fourth Wall. This trope is usually used for comedic purposes.
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