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the radio
by
thomas conway
The Radio
The Radio is about connection between a father and daughter via a broken radio.
Martin uses the radio to stay connected to the outside world. His home, a protective egg, holds Martin together inside, an almost inverted embryo; a vulnerable older man perhaps grieving; listening to the wider world via his beloved radio from his womb-like house.
The radio connects him to his daughter Cathleen, also a broadcasting journalist who lands tough questions on politicians. He keeps up to speed with all the news in the country, he finds out which of his friends have passed- a pressing matter for elderly people- & it plays him old Irish folk tunes and country songs. He feels recognised by the programming on the radio. It is obviously geared towards someone like him. It soothes him and keeps him occupied and the feeling of connectivity gives him a sense of inclusion which is in stark contrast to his actual isolation.
Martin uses the radio to stay connected to the outside world. His home, a protective egg, holds Martin together inside, an almost inverted embryo; a vulnerable older man perhaps grieving; listening to the wider world via his beloved radio from his womb-like house.
The radio connects him to his daughter Cathleen, also a broadcasting journalist who lands tough questions on politicians. He keeps up to speed with all the news in the country, he finds out which of his friends have passed- a pressing matter for elderly people- & it plays him old Irish folk tunes and country songs. He feels recognised by the programming on the radio. It is obviously geared towards someone like him. It soothes him and keeps him occupied and the feeling of connectivity gives him a sense of inclusion which is in stark contrast to his actual isolation.
Loneliness
“Often down here I have entered into a sanctuary … of great agony once; and always some terror; so afraid one is of loneliness; of seeing to the bottom of the vessel…” Virginia Woolf
Loneliness pervades the house and Martin assuages it with the radio.
This piece can be boiled down to a microcosm of Human existence. The loneliness Martin feels in the silence of his own home is an allegory for Humanity, stumbling around on a piece of rock flying through space with no clue of why or how it got there and what to do with the time it has. So, Humanity distracts itself from the pain of existence. Martin listens to his radio.
Loneliness pervades the house and Martin assuages it with the radio.
This piece can be boiled down to a microcosm of Human existence. The loneliness Martin feels in the silence of his own home is an allegory for Humanity, stumbling around on a piece of rock flying through space with no clue of why or how it got there and what to do with the time it has. So, Humanity distracts itself from the pain of existence. Martin listens to his radio.
egg & the curved line
In ways, this piece reminds me of Kubrick’s A Space Odyssey: 2001. I know that sounds bizarre. But Kubrick’s film works on many levels and one of its examinations is how human beings deal with existence and technology.
He puts his astronauts in a spaceship shaped like an egg into outer space. Wherever they move in the ship, they must move in a circle or on a curve to get anywhere. No matter how technological we become, no matter how far we fling ourselves into outer space, we still come back to the egg, the sperm and the womb; the bones or essentials of our existence.
The fact Martin needs noise and makes his own noise, humming – especially when happy- is quite a primal act.
When speaking to Thomas, the writer of The Radio, he stated that Martin’s house was like an egg and I agreed. Martin’s house is protecting him, like a womb or an egg.
So, there is something feminine or female about the piece and the fact that he is helped by his daughter is no coincidence.
As a result, I want to keep in mind the curved line when shooting and when panning or tracking. If we decide we are shooting in an egg (metaphorically) then we must play with the curved line and colours of an egg too; creams, whites, greys, light yellows and browns; to enhance this- with subtlety, of course!
Curves exist all throughout nature, from the Archimedean spiral of the mollusks shell to the double helix of DNA to the sphere of the Earth or any other heavenly body. Straight lines, however, while present in nature, often give a much stronger association of the artificial, the manmade, found for example in the rectangular screen of Martin’s TV set. The TV is robotic and not in tune with Martin.
I know Martin’s radio is man-made too however, he has endowed it with character and as a result I would like to have a small, sweet-looking radio that has curves and almost a face via it’s knobs akin to two big eyes.
He puts his astronauts in a spaceship shaped like an egg into outer space. Wherever they move in the ship, they must move in a circle or on a curve to get anywhere. No matter how technological we become, no matter how far we fling ourselves into outer space, we still come back to the egg, the sperm and the womb; the bones or essentials of our existence.
The fact Martin needs noise and makes his own noise, humming – especially when happy- is quite a primal act.
When speaking to Thomas, the writer of The Radio, he stated that Martin’s house was like an egg and I agreed. Martin’s house is protecting him, like a womb or an egg.
So, there is something feminine or female about the piece and the fact that he is helped by his daughter is no coincidence.
As a result, I want to keep in mind the curved line when shooting and when panning or tracking. If we decide we are shooting in an egg (metaphorically) then we must play with the curved line and colours of an egg too; creams, whites, greys, light yellows and browns; to enhance this- with subtlety, of course!
Curves exist all throughout nature, from the Archimedean spiral of the mollusks shell to the double helix of DNA to the sphere of the Earth or any other heavenly body. Straight lines, however, while present in nature, often give a much stronger association of the artificial, the manmade, found for example in the rectangular screen of Martin’s TV set. The TV is robotic and not in tune with Martin.
I know Martin’s radio is man-made too however, he has endowed it with character and as a result I would like to have a small, sweet-looking radio that has curves and almost a face via it’s knobs akin to two big eyes.
And this leads me to another theme; inside versus outside.
Martin never leaves his house. He never even ventures into the garden.
Martin’s world is slow and he receives information regarding the outside world from his radio but he doesn’t try to change anything. Besides receiving this information, he is happy to not engage any further. Martin is an outsider to the wider world.
Cathleen is part of that outside world. She is a journalist trying to change things. She often gives interviews on the radio. She is very engaged in the wider world & also within it. She is an insider in that world.
So, what does the outside world signify for Martin? For contrast, I think it would be helpful to draw the outside as dangerous and frightening for Martin but again with subtlety. For example: trees branches might screech against kitchen window panels. It could be cold, dark and wet outside.
Whereas, inside his house and with the radio playing, Martin is cosy, warm & he hums. We should shoot the interior of the house with this in mind.
So, when the radio breaks, Martin’s interior becomes less stable. We should drain the warmth from these shots slightly. The interior of his home surroundings reflect his inner mind.
As a result of having no radio and therefore no incessant noise, we begin to hear the outside world more. We hear the wind, rain, trees outside, maybe cattle far off, maybe birds or even cars going by? We hear the fridge and the tick-tocking of the cold clock. Martin can hear himself breathe. And perhaps his breathing will begin to change incrementally becoming more shallow as he realises he may never be able to fix his radio.
Cathleen comes from the outside, the scary world of Dublin, no less. When she comes in, she might not shut the door, allowing the cold wind & rain to come in.
She tries to initiate conversation based on things happening in Dublin. Martin tunes out.
Gender, Age, Family, Masculinity Versus Femininity & Rural Versus Urban
Gender is really important in this piece. Martin does not tell Cathleen about his broken radio. Why? He believes she will not be able to fix it. He cannot fix it so she will not be able to do so. Given his age, Martin is likely to believe that fixing something as technical as a radio is a job for a man. This is why Cathleen’s line at the end of the script is so pertinent. She reads this from him also. “Never send a man to do a woman’s job.” Obviously from a younger generation than Martin, she grew up in a completely different Ireland & it has given her opportunities to develop that women in Martin’s era would never have enjoyed. As a result, she is a thoroughly modern woman. Martin has most likely never seen a woman fix a radio- or anything like it- before.
Martin is passive and in a sense feminine whereas Cathleen is proactive and, masculine.
Martin is rural, Cathleen, urban. What does this mean to Martin? How does he feel that Cathleen didn’t stay in the country but chose to live in Dublin? And how does where they choose to live inform who they are and their relationship to each other & the greater world?
Interestingly enough, when we first see Cathleen, she is talking on her own mini-radio; a mobile telephone. Mobile phones work in almost the exact same way as radios. They’re obviously more complicated but at their core, is essentially the same technology. So, like father, like daughter.
Martin is passive and in a sense feminine whereas Cathleen is proactive and, masculine.
Martin is rural, Cathleen, urban. What does this mean to Martin? How does he feel that Cathleen didn’t stay in the country but chose to live in Dublin? And how does where they choose to live inform who they are and their relationship to each other & the greater world?
Interestingly enough, when we first see Cathleen, she is talking on her own mini-radio; a mobile telephone. Mobile phones work in almost the exact same way as radios. They’re obviously more complicated but at their core, is essentially the same technology. So, like father, like daughter.
This reminds me of what the now-disgraced comedian, Louis C.K., said about mobile phone addiction. He said the addiction existed because when people put their phones away they would have to deal with feeling sad and wondering why they existed at all. So, instead of dealing with that & those complicated feelings, people would pick up their phones.
Martin does not own a mobile phone. Perhaps the internet cannot reach him where he lives or perhaps he has rejected the idea of a mobile phone. So, the mobile phone in this script is a symbol of urbanity, a symbol of the future and something used more frequently by younger generations.
Martin does not own a mobile phone. Perhaps the internet cannot reach him where he lives or perhaps he has rejected the idea of a mobile phone. So, the mobile phone in this script is a symbol of urbanity, a symbol of the future and something used more frequently by younger generations.
age
Martin’s lack of a mobile phone serves to dislocate him from this modern world, rapidly moving on without him. If he had a smartphone he would likely receive lots of regular pictures of his grandchildren and wouldn’t forget their ages so easily. Martin’s age is separating him from his family.
Connection/Tuning into each other & Tuning out
Connection and a feeling of togetherness with another person or persons can give meaning to existence and therefore assuage the pain of loneliness and existential dread.
The radio is a fantastic metaphor for this. A radio works because of a series of connections from a transmitter to a receiver.
In this piece, we have Martin sending out or transmitting signals that he is not happy and his daughter, Cathleen, the receiver, helping to fix his connection to the outside world ie: she fixes the radio. Martin tunes out of conversation with Cathleen and isn’t listening to her. Though Martin doesn’t realise it initially, his daughter is trying to tune into him.
What Cathleen is really fixing in the end, is her relationship and connection to her Dad.
In this piece, we have Martin sending out or transmitting signals that he is not happy and his daughter, Cathleen, the receiver, helping to fix his connection to the outside world ie: she fixes the radio. Martin tunes out of conversation with Cathleen and isn’t listening to her. Though Martin doesn’t realise it initially, his daughter is trying to tune into him.
What Cathleen is really fixing in the end, is her relationship and connection to her Dad.
Appliances/Technology
Appliances feature heavily in this piece. Martin’s dependence on them and how he uses and interacts with them tells us about him and his environment. These appliances help to aid human connection. Indeed, before the electrification of rural Ireland in the late 1940’s/early 1950’s,
loneliness was excruciating for elderly people. Of course, it still is today, however, it has been eased somewhat by televisions, radios, telephones & the internet.
So, appliances can become our friends when we don’t have any.
This script reminds me of Cast Away and Chuck’s (Tom Hanks) interaction with the football, Wilson.
Martin has a relationship to the radio. It is obviously not as pronounced as it is in Cast Away. However, we see very subtly, how Martin has endowed the radio with character.
And indeed, we see how he views the other appliances in the house after the radio ‘dies’.
The clock is cold and judgmental. The TV is shallow & unrelentingly happy. The fridge is indifferent.
loneliness was excruciating for elderly people. Of course, it still is today, however, it has been eased somewhat by televisions, radios, telephones & the internet.
So, appliances can become our friends when we don’t have any.
This script reminds me of Cast Away and Chuck’s (Tom Hanks) interaction with the football, Wilson.
Martin has a relationship to the radio. It is obviously not as pronounced as it is in Cast Away. However, we see very subtly, how Martin has endowed the radio with character.
And indeed, we see how he views the other appliances in the house after the radio ‘dies’.
The clock is cold and judgmental. The TV is shallow & unrelentingly happy. The fridge is indifferent.
Ears & Listening
This script begins with listening. Martin is standing in his kitchen listening to the radio.
To listen we need sensitive follicles in the cochlea of our ears to vibrate and send messages up to the brain. Our ears are small receptors with tiny antennae on the side of our heads. So, ears are an important aspect to this film.
So too, the idea of sensitive antennae, being sensitive to receive messages is important. Cathleen is a walking receptor using her sensitivity to pick up that something is amiss with Martin. She is using her ‘inner ear’. Someone else may not have been as receptive to have picked up on his mood.
Listening to another person even when they are not talking is about being truly present with them. Being present naturally makes you more receptive and heightens your sensitivity to yourself, your surroundings and the people in it.
To listen we need sensitive follicles in the cochlea of our ears to vibrate and send messages up to the brain. Our ears are small receptors with tiny antennae on the side of our heads. So, ears are an important aspect to this film.
So too, the idea of sensitive antennae, being sensitive to receive messages is important. Cathleen is a walking receptor using her sensitivity to pick up that something is amiss with Martin. She is using her ‘inner ear’. Someone else may not have been as receptive to have picked up on his mood.
Listening to another person even when they are not talking is about being truly present with them. Being present naturally makes you more receptive and heightens your sensitivity to yourself, your surroundings and the people in it.
Harmony Versus Dissonance
There are lovely harmonious tunes played on the radio. When it breaks, we can play with an eery silence and with the sounds from the house and outside it and twist them slightly, making them dissonant.
Movement Versus Stillness
I think it’s interesting that when Martin is happy, his energy seems to be up and moving. His energy is flowing. When the radio breaks, he sits in silence. His energy is stuck.
What does this stillness do to him? And when he does move to try and phone a repair company, his movements are a little frantic.
It also brings me to think about grief again. Is Martin grieving? And does the stillness frighten him? Will it make him think of and confront memories and pain he does not wish to?
What does this stillness do to him? And when he does move to try and phone a repair company, his movements are a little frantic.
It also brings me to think about grief again. Is Martin grieving? And does the stillness frighten him? Will it make him think of and confront memories and pain he does not wish to?
Routine Versus Disruption
Routine is so important to the human psyche. The repetition of certain acts or rituals in the morning, bring a sense of calm to an otherwise chaotic world. We are all vulnerable but elderly people are obviously especially vulnerable. So, a good habit and a routine every day creates reassurance. Routine is of huge benefit to mental health.
Therefore, the disruption to this routine can bring on a traumatic effect on a vulnerable individual. They may see it as their world becoming less stable and can retreat inside themselves as a result.
This happens to Martin. He does not reach out for help but retreats inside of himself.
We must be acutely aware of mental health as a theme in this film when creating it. The interior of the house must reflect Martin’s interior mind. Essentially, when the radio works, the house looks lovely. When the radio breaks, the house must look like less homely and less safe.
Therefore, the disruption to this routine can bring on a traumatic effect on a vulnerable individual. They may see it as their world becoming less stable and can retreat inside themselves as a result.
This happens to Martin. He does not reach out for help but retreats inside of himself.
We must be acutely aware of mental health as a theme in this film when creating it. The interior of the house must reflect Martin’s interior mind. Essentially, when the radio works, the house looks lovely. When the radio breaks, the house must look like less homely and less safe.
Music
There will be no soundtrack as such. We will use the music coming from the radio to score certain sections. However, the sound and rhythm of the sounds and Martin’s movements about the house will have a musicality to them. This will be broken up after the radio ‘dies’.
Tone
The Radio is a slow-burning, heart-warming drama.
Simplicity
When shooting this film, one might say that it is ‘simple’. In one way, I agree that it is a ‘simple’ script. However, it will not be easy to shoot it just because it is simple.
We must allow this film come to us via the actors and the location that we choose & indeed, the themes that are wrapped up in the piece.
We need to allow the actors the time and space to do the work. The magic in this piece is the tiny yet hugely impactful moment between father and daughter via this radio. We must honour that tiny moment and its power and have the courage to not put any bells or whistles on it.
We must allow this film come to us via the actors and the location that we choose & indeed, the themes that are wrapped up in the piece.
We need to allow the actors the time and space to do the work. The magic in this piece is the tiny yet hugely impactful moment between father and daughter via this radio. We must honour that tiny moment and its power and have the courage to not put any bells or whistles on it.
The Importance of Sound
I cannot express enough how important sound is to this piece. As a result, I would like to have the sound-mixer/designer on set with us, picking up sounds from the location. This person would be separate from the Location Sound Person.
Colour Palettes
Creating The Radio
To look at creating The Radio, I am going to split it into 5 ‘stanzas’.
Stanza 1: Martin is happy. He listens to radio.
From Page 1 – Page 3 ending on the line of action: The radio plays Sean-Nos in the darkness.
Visuals:
Camera-work: Handheld but not too wobbly just to give a sense of buoyancy. Martin is happy here. His energy is up and moving and slight excitement in relation to listening to the news program.
We would be close up on him following to toaster and watching him butter the toast.
I’m playing with the idea of opening the film on the sound of the radio being tuned in from noisy static and visually, fading gradually from black to an extreme close-up inside Martin’s ear as we slowly & gradually pull back to reveal his whole ear while we listen to the radio.
Then, cutting to behind Martin’s head and the side of his ear in the foreground with the radio on the windowsill in the background & gradually racking the radio into focus from the ear to convey their connection.
I would like this handheld camera-work to take into account the curved line. So, when moving the camera as we track with Martin, we would get from position A to position B by moving the camera on a curved line rather than a straight line.
I want the camera-work to feel intimate and as though we love Martin like he was our child. It must feel motherly and feminine and protective.
Camera-work: Handheld but not too wobbly just to give a sense of buoyancy. Martin is happy here. His energy is up and moving and slight excitement in relation to listening to the news program.
We would be close up on him following to toaster and watching him butter the toast.
I’m playing with the idea of opening the film on the sound of the radio being tuned in from noisy static and visually, fading gradually from black to an extreme close-up inside Martin’s ear as we slowly & gradually pull back to reveal his whole ear while we listen to the radio.
Then, cutting to behind Martin’s head and the side of his ear in the foreground with the radio on the windowsill in the background & gradually racking the radio into focus from the ear to convey their connection.
I would like this handheld camera-work to take into account the curved line. So, when moving the camera as we track with Martin, we would get from position A to position B by moving the camera on a curved line rather than a straight line.
I want the camera-work to feel intimate and as though we love Martin like he was our child. It must feel motherly and feminine and protective.
Texture
The surrounding surfaces can be filled with soft furnishings and or props. They should evoke a feeling of safety that Martin is protected in this space.
There are also opportunities here, to have props and certain objects in frame that have a curved line naturally or that can be manipulated so that we can accentuate the curve of the object for any given shot.
I have attached some photos to give some idea of what I’m trying to say, below. However, keep in mind these are photos that are not otherwise thematically related to this piece. I’m using them to purely demonstrate the curved line.
The surrounding surfaces can be filled with soft furnishings and or props. They should evoke a feeling of safety that Martin is protected in this space.
There are also opportunities here, to have props and certain objects in frame that have a curved line naturally or that can be manipulated so that we can accentuate the curve of the object for any given shot.
I have attached some photos to give some idea of what I’m trying to say, below. However, keep in mind these are photos that are not otherwise thematically related to this piece. I’m using them to purely demonstrate the curved line.
Colours
As I’ve stated before, I would like us to film this as though Martin lives in an egg. As a result, I would like the colours in this Stanza 1 to be soft creams, white, light yellows, light greys, browns & blues.
Again, we should subtly manipulate the colours for this Stanza 1 to be warm, inviting and protective.
Sound & Rhythm/Edit
The atmos sounds should be caressing and soft. When the kettle boils, it doesn’t scream as it boils but we hear the light bubbles of water, for example. The toaster may be loud when it pops but it is a playful sound rather than intrusive. The water from the sink as Martin washes his dishes is soft and therapeutic.
There should be a nice playful rhythm to the sounds and to Martin’s actions. This has happened every morning for a long time. This routine is comforting and sets him up for the day.
The sounds should almost be harmonious too as we get to Joe Dolan’s song, a fun and melodious tune. Martin even makes his own sounds by humming along. If this were a cartoon, the mugs, plates and cutlery would be dancing along to the music.
In the evening time, when Martin goes into the kitchen for the second time to make his dinner, I would like to use a handheld wide to show his routine and how important that routine is and how mechanical it is almost without thought. His energy is flowing.
Martin’s bedroom should be simple with white walls, white net-curtains and a green blanket that he uses only on cold nights. (This green blanket will be used as his main bed cover at the end in the scene with Cathleen. This green is signifying growth.)
Costume
Martin’s clothes; brown slacks, dark blue flat cap and cream shirt. He should look comfortable in these clothes.
As I’ve stated before, I would like us to film this as though Martin lives in an egg. As a result, I would like the colours in this Stanza 1 to be soft creams, white, light yellows, light greys, browns & blues.
Again, we should subtly manipulate the colours for this Stanza 1 to be warm, inviting and protective.
Sound & Rhythm/Edit
The atmos sounds should be caressing and soft. When the kettle boils, it doesn’t scream as it boils but we hear the light bubbles of water, for example. The toaster may be loud when it pops but it is a playful sound rather than intrusive. The water from the sink as Martin washes his dishes is soft and therapeutic.
There should be a nice playful rhythm to the sounds and to Martin’s actions. This has happened every morning for a long time. This routine is comforting and sets him up for the day.
The sounds should almost be harmonious too as we get to Joe Dolan’s song, a fun and melodious tune. Martin even makes his own sounds by humming along. If this were a cartoon, the mugs, plates and cutlery would be dancing along to the music.
In the evening time, when Martin goes into the kitchen for the second time to make his dinner, I would like to use a handheld wide to show his routine and how important that routine is and how mechanical it is almost without thought. His energy is flowing.
Martin’s bedroom should be simple with white walls, white net-curtains and a green blanket that he uses only on cold nights. (This green blanket will be used as his main bed cover at the end in the scene with Cathleen. This green is signifying growth.)
Costume
Martin’s clothes; brown slacks, dark blue flat cap and cream shirt. He should look comfortable in these clothes.
Stanza 2: Radio breaks. Martin is unhappy.
From Page 3 at: INT. KITCHEN – MORNING – Page 5 ending on the line of action: Martin ambles slowly to the front door to open it.
Visuals
At the start of this Stanza 2, we should be close-up to Martin and handheld and we can allow for more rugged movement here as he tries to switch on his beloved radio to convey his panic.
We will now use straight lines and lose the curve. We will also bring in the sticks (tripod) and dolly and tracks. I would like to go to wides to show how his routine is broken and how he now feels lost in this angular, cold, hard space without his radio. Martin’s world is broken.
We will keep on hard straight lines for this Stanza 2.
When Martin picks up the phone book, we will go handheld again but we will be intrusively close up on Martin’s face. His breathing should be fast and shallow. We could shoot from a low angle close on his face to give a sense of his world spinning around him.
Texture
As Martin realises his radio is broken, there should be sharper objects now in the background pointed towards Martin and his radio.
Things have lost their roundness and softness. Everything is hard and jagged.
Martin’s toast will be like hard cardboard and the tea a grey, mucky colour and not hot & steaming as before.
Colour
Colour should be drained from this Stanza 2. Everything should be stark and the cold, blue light of an overcast day would filter into the kitchen and sitting-room. The yellows we had used in Stanza 1 would now be a stale shade of yellow. This feeling of energy being stuck and a sense of stagnation should be accentuated with subtlety with varying shades from our egg colour palette.
For instance, the Yellow Pages phone book Martin picks up to ring a repair man should be a stinky old yellow worn looking book. It should look ‘dead’.
Sound & Rhythm/Edit
When Martin is trying to fix his radio, we will hear his chopped anxious breathing.
When he accepts the radio is broken, we hear the sounds that the house makes and the weather outside.
The fridge hums indifferently and the clock ticks at Martin judgmentally. If we take it that Martin is suffering the grief of his wife passing, then it will be difficult for Martin to sit in silence in the house he shared with her. We must take this into account for performance. He would then be acutely aware of his age and of time passing, so this loud ticking will make him uneasy.
I’m thinking of using birdsong & cows moo-ing far off in the distance that will be slightly dissonant. This would be done very subtly so hopefully it would be subliminal & resonate more as a result.
The wind could whistle down & around the house. Trees branches could screech across window panes. This would be all in the background. It would be done with a very light hand and we would be doing this to create a sense of Martin feeling lost in the world without his radio.
The rhythm of sounds will be completely off in this Stanza 2. Pitch and tone of sounds will be ever so slightly off key. Martin’s routines will be broken and as a result he drops a plate that will crash onto the floor unusually loudly.
All of the appliances he used before: kettle, toaster: he will now hear them make their usual noises in slightly abnormal ways.
The TV should sound obnoxious and intrusive.
The recorded voice on the telephone should sound especially robotic.
Costume
We should have two identical sets of Martin’s costume. One set is neat, tidy and looks good and the other is slightly worn and not as fresh. We will call them costume set A and costume set B.
In Stanza 1 Martin wears Costume A.
In Stanza 2 Martin wears Costume B.
Visuals
At the start of this Stanza 2, we should be close-up to Martin and handheld and we can allow for more rugged movement here as he tries to switch on his beloved radio to convey his panic.
We will now use straight lines and lose the curve. We will also bring in the sticks (tripod) and dolly and tracks. I would like to go to wides to show how his routine is broken and how he now feels lost in this angular, cold, hard space without his radio. Martin’s world is broken.
We will keep on hard straight lines for this Stanza 2.
When Martin picks up the phone book, we will go handheld again but we will be intrusively close up on Martin’s face. His breathing should be fast and shallow. We could shoot from a low angle close on his face to give a sense of his world spinning around him.
Texture
As Martin realises his radio is broken, there should be sharper objects now in the background pointed towards Martin and his radio.
Things have lost their roundness and softness. Everything is hard and jagged.
Martin’s toast will be like hard cardboard and the tea a grey, mucky colour and not hot & steaming as before.
Colour
Colour should be drained from this Stanza 2. Everything should be stark and the cold, blue light of an overcast day would filter into the kitchen and sitting-room. The yellows we had used in Stanza 1 would now be a stale shade of yellow. This feeling of energy being stuck and a sense of stagnation should be accentuated with subtlety with varying shades from our egg colour palette.
For instance, the Yellow Pages phone book Martin picks up to ring a repair man should be a stinky old yellow worn looking book. It should look ‘dead’.
Sound & Rhythm/Edit
When Martin is trying to fix his radio, we will hear his chopped anxious breathing.
When he accepts the radio is broken, we hear the sounds that the house makes and the weather outside.
The fridge hums indifferently and the clock ticks at Martin judgmentally. If we take it that Martin is suffering the grief of his wife passing, then it will be difficult for Martin to sit in silence in the house he shared with her. We must take this into account for performance. He would then be acutely aware of his age and of time passing, so this loud ticking will make him uneasy.
I’m thinking of using birdsong & cows moo-ing far off in the distance that will be slightly dissonant. This would be done very subtly so hopefully it would be subliminal & resonate more as a result.
The wind could whistle down & around the house. Trees branches could screech across window panes. This would be all in the background. It would be done with a very light hand and we would be doing this to create a sense of Martin feeling lost in the world without his radio.
The rhythm of sounds will be completely off in this Stanza 2. Pitch and tone of sounds will be ever so slightly off key. Martin’s routines will be broken and as a result he drops a plate that will crash onto the floor unusually loudly.
All of the appliances he used before: kettle, toaster: he will now hear them make their usual noises in slightly abnormal ways.
The TV should sound obnoxious and intrusive.
The recorded voice on the telephone should sound especially robotic.
Costume
We should have two identical sets of Martin’s costume. One set is neat, tidy and looks good and the other is slightly worn and not as fresh. We will call them costume set A and costume set B.
In Stanza 1 Martin wears Costume A.
In Stanza 2 Martin wears Costume B.
Stanza 3: Cathleen arrives.
From Page 5 at: Cathleen talking on phone, “Don’t forget to ….” – Page 7 ending on the line of action: Martin is lying in bed. Staring at the ceiling.
Visuals
From behind Martin’s head with his ear in sharp focus we then pull focus slowly to Cathleen’s car entering the frame to convey a connection between Martin and the person in the car.
This is the first time Martin opens the door to the outside world.
At the front door, from behind Martin’s shoulder and again keeping his ear in shot, we see Cathleen as she has her back turned towards us getting out of car. She herself has her ear covered with a phone.
We see Martin’s face in focus & the back of Cathleen’s head with phone attached to it in soft focus as she comes towards him. Both people have their own devices they rely on.
As Cathleen comes in she brings in the cold wind and leaves through the threshold with her. She is bringing the outside into Martin’s space. Martin closes the door.
As Cathleen looks around we can use the dolly and track slowly passed her and Martin in a wide. Cathleen knows something isn’t right immediately. And use the reverse of this shot too to convey their awkwardness and to show the physical distance between them. There will be no tight over the shoulder shots in this first conversation.
When Cathleen comes from the kitchen with the take-away fish and chips on plates we can keep it as a tracking wide again but slightly tighter. She’s getting closer to him but still figuring it out.
When they watch the nature documentary and Cathleen has another go at conversation and trying to connect with Martin, we can bring in over-the-shoulder shots but only on Cathleen. When we look at Cathleen we will see the side of frame dirtied by Martin. But when we see Martin, he will be in a single. We are trying to emphasise that at this point, Martin still feels isolated.
Texture
Texturally, the surrounding environment would be pretty much the same as Stanza 2. We can swap out identical cushions on the couch and armchair and have cushions that are slightly worse for wear than they had been in Stanza 1.
Anything that we can use to bring out straight lines and hard surfaces would work here.
Colour
We are still working with the drained colour egg palette of Stanza 2. However, again we can amp that up by using more items of production design that have stale yellow / brown colours. Again, this would be done subtly, using items that would be in the background of shots.
Sound & Rhythm/Edit
I am playing with the idea of Cathleen & Martin’s voices sounding like they’re in a hollow room. The way voices sound in a room that has no soft furnishings. And as Cathleen tries to get closer to Martin, start a conversation and connect, we would make them incrementally more resonant. Again subtly done!
The delivery of Cathleen’s lines initially should be faster than Martin’s. His delivery is slow. They’re out of tune with each other. Something’s not right.
I would also look at attributing a type of sound to both Martin and Cathleen. For instance, Cathleen could be more staccato than Martin and Martin more legato.
Costume
In this Stanza 3, Martin is still in Costume B.
I’m thinking of Cathleen in something like a tight fitting pair of dark green combats with lots of pockets, everyday hiking boots, a cream blouse, a bright red wool jumper and a short navy puffa jacket.
The puffa jacket is something slightly futuristic looking and the sound it makes can be annoying and we can play with this. The bright red jumper should signal at an unconscious level that Martin senses danger here. He’s not altogether comfortable. The cream blouse like Martin’s cream shirt symbolizes that underneath it all Cathleen is very like her father. The combats and hiking boots convey a sense of tom-boyishness in Cathleen but also earthiness and practicality. She’s a busy mother- no time for heels!
Visuals
From behind Martin’s head with his ear in sharp focus we then pull focus slowly to Cathleen’s car entering the frame to convey a connection between Martin and the person in the car.
This is the first time Martin opens the door to the outside world.
At the front door, from behind Martin’s shoulder and again keeping his ear in shot, we see Cathleen as she has her back turned towards us getting out of car. She herself has her ear covered with a phone.
We see Martin’s face in focus & the back of Cathleen’s head with phone attached to it in soft focus as she comes towards him. Both people have their own devices they rely on.
As Cathleen comes in she brings in the cold wind and leaves through the threshold with her. She is bringing the outside into Martin’s space. Martin closes the door.
As Cathleen looks around we can use the dolly and track slowly passed her and Martin in a wide. Cathleen knows something isn’t right immediately. And use the reverse of this shot too to convey their awkwardness and to show the physical distance between them. There will be no tight over the shoulder shots in this first conversation.
When Cathleen comes from the kitchen with the take-away fish and chips on plates we can keep it as a tracking wide again but slightly tighter. She’s getting closer to him but still figuring it out.
When they watch the nature documentary and Cathleen has another go at conversation and trying to connect with Martin, we can bring in over-the-shoulder shots but only on Cathleen. When we look at Cathleen we will see the side of frame dirtied by Martin. But when we see Martin, he will be in a single. We are trying to emphasise that at this point, Martin still feels isolated.
Texture
Texturally, the surrounding environment would be pretty much the same as Stanza 2. We can swap out identical cushions on the couch and armchair and have cushions that are slightly worse for wear than they had been in Stanza 1.
Anything that we can use to bring out straight lines and hard surfaces would work here.
Colour
We are still working with the drained colour egg palette of Stanza 2. However, again we can amp that up by using more items of production design that have stale yellow / brown colours. Again, this would be done subtly, using items that would be in the background of shots.
Sound & Rhythm/Edit
I am playing with the idea of Cathleen & Martin’s voices sounding like they’re in a hollow room. The way voices sound in a room that has no soft furnishings. And as Cathleen tries to get closer to Martin, start a conversation and connect, we would make them incrementally more resonant. Again subtly done!
The delivery of Cathleen’s lines initially should be faster than Martin’s. His delivery is slow. They’re out of tune with each other. Something’s not right.
I would also look at attributing a type of sound to both Martin and Cathleen. For instance, Cathleen could be more staccato than Martin and Martin more legato.
Costume
In this Stanza 3, Martin is still in Costume B.
I’m thinking of Cathleen in something like a tight fitting pair of dark green combats with lots of pockets, everyday hiking boots, a cream blouse, a bright red wool jumper and a short navy puffa jacket.
The puffa jacket is something slightly futuristic looking and the sound it makes can be annoying and we can play with this. The bright red jumper should signal at an unconscious level that Martin senses danger here. He’s not altogether comfortable. The cream blouse like Martin’s cream shirt symbolizes that underneath it all Cathleen is very like her father. The combats and hiking boots convey a sense of tom-boyishness in Cathleen but also earthiness and practicality. She’s a busy mother- no time for heels!
Stanza 4: Cathleen eventually tunes into Martin and fixes his radio.
From Page 7 at: INT. SITTING ROOM – NIGHT – Page 9 ending on the line of action: She quickly unplugs it and races out of the kitchen.
Visuals
Initially, as Cathleen sits in the sitting-room by herself, not concentrating on the TV, we will stay on a slowly panning wide.
We will gradually cut closer to Cathleen as she looks around then sits up and drums her fingers on the table.
We will then cut to handheld buoyant camera-work in the kitchen as Cathleen checks Martin’s meds and stands with her hands on hips. This will begin to mirror the camera-work we used at the opening on Martin in the kitchen.
In the sitting-room, we will be back on the sticks and tracking slowly with mid-shots on Cathleen and back to wides to show how lost she feels. The radio will be in the background of shots just out of focus. We will travel round the room showing what she sees. We land on the radio and cut back to mid-shot of Cathleen reacting.
And here we go back to handheld buoyant camera-work, again, mirroring the start of the film. We are with Cathleen as we jump-cut through drawers, boxes and jars.
We will use a series of handheld shots as we watch Cathleen struggle with the potato-peeler, following her frustration with it until she finally opens the plug.
We jump cut to Cathleen using Youtube from her phone and here use handheld camera work to stay with her to show how hard she’s working on it and how much it means to her to be able to fix it. This camera-work will mirror the camera-work when Martin was trying to fix the radio initially in the kitchen. Slightly frantic.
Finally, shooting from behind the radio on the counter, with the radio in the foreground in soft focus and Cathleen in sharp focus in the middle of shot she plugs it in. We see her drop her head and cut to a large wide. She’s in the empty hollow house, same as before.
We cut back to behind the radio on the counter, with the radio in the foreground in soft focus and Cathleen in sharp focus in the middle of shot & she presses on and we hear the DJ speak and we see Cathleen jump for joy, “You dancer!”
Now in the wide shot again, with the radio on full-blast, the house seems warm once more. Cathleen unplugs it and runs out of frame with it.
Texture
Cathleen knows something isn’t right so with regard to production design, it is the same as the last Stanza 3. The place has lost its energy. It’s drab. What can she do to change this? What’s wrong?
Colour
In this drab, stale setting, Cathleen cuts a vibrant figure in her bright red jumper.
Sound & Rhythm/Edit
As Cathleen sits and watches TV, the TV should have an annoying babbling feel to the noise. A sound that is hard to engage with. Around this, the house should be eerily silent.
As Cathleen stands up, her own sound should be sharp and dynamic, her breathing regular. Her mind is focussed.
As she stands in the kitchen, we hear the TV babbling annoyingly in the background and the fridge humming and the clock ticking. We can use this ticking to sound like she’s getting wound up, something’s going to happen.
Back in the sitting-room, we hear the TV loudly babbling away again as the sound of Cathleen grabbing at dull cushions and finding nothing frustrates her.
As Cathleen tries to fix the radio, we hear her breathing is also slightly hacked. She’s anxious. She really wants to fix this for her Dad.
When the DJ is finally heard, his voice should sound almost booming and melodic.
When Cathleen says, “You dancer!” her voice should sound more resonant now. The house is full of the radio and happy again.
The rhythm of the sounds should convey Cathleen’s will and concentration. When she is stuck, the sounds of the house creep in round her. When she thinks she knows what to do, the sounds of the house ebb away.
Costume
Cathleen’s red jumper should be quite bright in this section. This shows how bright she is but also she doesn’t fit with the surroundings.
Visuals
Initially, as Cathleen sits in the sitting-room by herself, not concentrating on the TV, we will stay on a slowly panning wide.
We will gradually cut closer to Cathleen as she looks around then sits up and drums her fingers on the table.
We will then cut to handheld buoyant camera-work in the kitchen as Cathleen checks Martin’s meds and stands with her hands on hips. This will begin to mirror the camera-work we used at the opening on Martin in the kitchen.
In the sitting-room, we will be back on the sticks and tracking slowly with mid-shots on Cathleen and back to wides to show how lost she feels. The radio will be in the background of shots just out of focus. We will travel round the room showing what she sees. We land on the radio and cut back to mid-shot of Cathleen reacting.
And here we go back to handheld buoyant camera-work, again, mirroring the start of the film. We are with Cathleen as we jump-cut through drawers, boxes and jars.
We will use a series of handheld shots as we watch Cathleen struggle with the potato-peeler, following her frustration with it until she finally opens the plug.
We jump cut to Cathleen using Youtube from her phone and here use handheld camera work to stay with her to show how hard she’s working on it and how much it means to her to be able to fix it. This camera-work will mirror the camera-work when Martin was trying to fix the radio initially in the kitchen. Slightly frantic.
Finally, shooting from behind the radio on the counter, with the radio in the foreground in soft focus and Cathleen in sharp focus in the middle of shot she plugs it in. We see her drop her head and cut to a large wide. She’s in the empty hollow house, same as before.
We cut back to behind the radio on the counter, with the radio in the foreground in soft focus and Cathleen in sharp focus in the middle of shot & she presses on and we hear the DJ speak and we see Cathleen jump for joy, “You dancer!”
Now in the wide shot again, with the radio on full-blast, the house seems warm once more. Cathleen unplugs it and runs out of frame with it.
Texture
Cathleen knows something isn’t right so with regard to production design, it is the same as the last Stanza 3. The place has lost its energy. It’s drab. What can she do to change this? What’s wrong?
Colour
In this drab, stale setting, Cathleen cuts a vibrant figure in her bright red jumper.
Sound & Rhythm/Edit
As Cathleen sits and watches TV, the TV should have an annoying babbling feel to the noise. A sound that is hard to engage with. Around this, the house should be eerily silent.
As Cathleen stands up, her own sound should be sharp and dynamic, her breathing regular. Her mind is focussed.
As she stands in the kitchen, we hear the TV babbling annoyingly in the background and the fridge humming and the clock ticking. We can use this ticking to sound like she’s getting wound up, something’s going to happen.
Back in the sitting-room, we hear the TV loudly babbling away again as the sound of Cathleen grabbing at dull cushions and finding nothing frustrates her.
As Cathleen tries to fix the radio, we hear her breathing is also slightly hacked. She’s anxious. She really wants to fix this for her Dad.
When the DJ is finally heard, his voice should sound almost booming and melodic.
When Cathleen says, “You dancer!” her voice should sound more resonant now. The house is full of the radio and happy again.
The rhythm of the sounds should convey Cathleen’s will and concentration. When she is stuck, the sounds of the house creep in round her. When she thinks she knows what to do, the sounds of the house ebb away.
Costume
Cathleen’s red jumper should be quite bright in this section. This shows how bright she is but also she doesn’t fit with the surroundings.
Stanza 5: Martin is delighted with fixed radio. Martin and Cathleen connect. Cathleen leaves.
From Page 9 at: INT. BEDROOM – NIGHT – Page 10 The End.
Visuals
As Cathleen comes into the room, we can use lots of over-the-shoulder close-up shots to convey intimacy and connection. As Martin sits up in bed, Martin’s face can literally light up under the spotlight of his bedside lamp- we can adjust the brightness of light for this scene. A lovely two-shot with both Martin and Cathleen’s faces in frame, profiles close to each other to capture the moment they hug and kiss would be lovely too.
Again, this should all be handheld, buoyant conveying a sense of free & light energy at last and operate with the curved line again, caressing both our characters with warmth.
As Cathleen leaves Martin’s room, I would like to film from a crane outside the bedroom window, looking in. As Cathleen leaves, we pull back and show the house, a rural house and as Cathleen gets into her car, we pull back even more showing how isolated Martin’s house is but showing the electricity poles connecting him to his radio via their many cables to the wider outside world, the world Cathleen, his daughter, is a part of. This is a film about connection between Martin and Cathleen but also about connection in all its varied forms.
Texture
Everything, the bed and all furnishings should be soft looking and warm. There should be no sharp lines here, again employing the curve here.
Colour
The room should be filled with soft glow of yellowish, warm light with shadows near the ceiling.
Martin will have his green blanket up over him and he will be in yellow pyjamas.
The green blanket signifies growth. Martin grows in this scene. He may be old but there is always time for more growing.
Martin’s pale yellow PJ’s signify a child-like vulnerability.
Cathleen’s red jumper signifies her direct, forward energy.
Sound & Rhythm/Edit
The sounds in this room are soft and soothing and very much at a slow pace; legato.
Cathleen’s energy and voice is obviously incongruent to this when she enters.
The DJ’s voice is booming and Martin’s and Cathleen’s voices are more resonant than before.
The Radio DJ plays a lilting tune and plays over the credit roll.
Costume
Martin will be wearing pastel yellow pyjamas and Cathleen, her red jumper and combats.
Visuals
As Cathleen comes into the room, we can use lots of over-the-shoulder close-up shots to convey intimacy and connection. As Martin sits up in bed, Martin’s face can literally light up under the spotlight of his bedside lamp- we can adjust the brightness of light for this scene. A lovely two-shot with both Martin and Cathleen’s faces in frame, profiles close to each other to capture the moment they hug and kiss would be lovely too.
Again, this should all be handheld, buoyant conveying a sense of free & light energy at last and operate with the curved line again, caressing both our characters with warmth.
As Cathleen leaves Martin’s room, I would like to film from a crane outside the bedroom window, looking in. As Cathleen leaves, we pull back and show the house, a rural house and as Cathleen gets into her car, we pull back even more showing how isolated Martin’s house is but showing the electricity poles connecting him to his radio via their many cables to the wider outside world, the world Cathleen, his daughter, is a part of. This is a film about connection between Martin and Cathleen but also about connection in all its varied forms.
Texture
Everything, the bed and all furnishings should be soft looking and warm. There should be no sharp lines here, again employing the curve here.
Colour
The room should be filled with soft glow of yellowish, warm light with shadows near the ceiling.
Martin will have his green blanket up over him and he will be in yellow pyjamas.
The green blanket signifies growth. Martin grows in this scene. He may be old but there is always time for more growing.
Martin’s pale yellow PJ’s signify a child-like vulnerability.
Cathleen’s red jumper signifies her direct, forward energy.
Sound & Rhythm/Edit
The sounds in this room are soft and soothing and very much at a slow pace; legato.
Cathleen’s energy and voice is obviously incongruent to this when she enters.
The DJ’s voice is booming and Martin’s and Cathleen’s voices are more resonant than before.
The Radio DJ plays a lilting tune and plays over the credit roll.
Costume
Martin will be wearing pastel yellow pyjamas and Cathleen, her red jumper and combats.
Crew
Cinematographer: Burschi Wojnar
I am working with Burschi on a short called, HUM. He is an exceptionally talented DOP. He has his own equipment which will help with budget. We would like to shoot this on the Arri Alexa Mini with a shoulder rig for handheld camera-work.
Post Sound: Killian Fitzgerald Avatar Post Productions
I worked with Killian on Proclaim! and he is an immense talent. He is on board HUM too. Our sound mix is in safe hands with Killian.
I am working with Burschi on a short called, HUM. He is an exceptionally talented DOP. He has his own equipment which will help with budget. We would like to shoot this on the Arri Alexa Mini with a shoulder rig for handheld camera-work.
Post Sound: Killian Fitzgerald Avatar Post Productions
I worked with Killian on Proclaim! and he is an immense talent. He is on board HUM too. Our sound mix is in safe hands with Killian.
Some possible Radios
Some ideas for Martin’s house, kitchen & bedroom
Film References
Obviously, there are many things that differentiate “The Radio” from “Cast Away”. However, there are parallels that can be drawn between the two films with regard to the relationship between Chuck & Wilson and Martin & his radio.
“Once” has a similar colour palette to “The Radio”. It also uses lots of handheld camera-work and it brings an intimacy to the film that it would not otherwise have if they had employed steadi-cam or excessively stylistic shots.
The scene with Glen Hansard and his father where he tells his father he is leaving Ireland is done ‘simply’ and allows for the moment to speak for itself.
The scene with Glen Hansard and his father where he tells his father he is leaving Ireland is done ‘simply’ and allows for the moment to speak for itself.
rough storyboard work of 1st scene
