'We go with - ' MOVING SOUND CENTRE
FIXED SOUND CENTRE - the centre of the sound picture remains fixed in the same place (usual in Standard production) MOVING SOUND CENTRE - 'we go with' - the sound centre moves along with the characters as they talk (going 'up the garden path' so as to speak)
SOUND CENTRE Standard production Point of listening = POL Perspective explained by film shot analogy
See Alan Beck, Radio Acting for a full explanation and how to do this.
'WE GO WITH' : Instead of the listener apparently observing a picture spread out in front of him/her as on a stage, the action travels with the character or characters, and the scenery is moving past.
There are various studio solutions to this.
(a) Moving microphone with the moving sound centre. The microphone is carried with the main character, and this creates the moving sound centre.
(b) Series of microphones cross-faded.
Plot situation: Mary and Freddie arrive home from a party in the car, get into the house, greet another house-sharer, Flo, upstairs, and then discover their car is being broken into.
Solidarity of three women. It is the middle of the play, exposition has been done, characters and situation established.
Studio Manager .....................
SPOT OR GRAMS
1. FX: FADE UP ON CAR STOPPING ON WET GRAVEL (INTERIOR) WINDSCREEN WIPERS AND RAIN ON CAR ROOF (INTERIOR). ENGINE IS SWITCHED OFF. WIPERS STOP. KEYS RATTLE.
2. MARY: Don't get out yet. I'm flattened. (yawning)
3. FREDDIE: I've got to get a glass of water down me after all I drank.
4. MARY: (singing) 'Drinking again'.
5. FREDDIE: Come on sister. This won't get the hosses to pasture.
6. FX: CAR DOOR OPENS, FREDDIE GETS OUT FIRST, FEET ONTO WET GRAVEL. OUTSIDE. WE GO WITH FREDDIE
7. FREDDIE: (OUTSIDE) Out you get, quick sticks.
8. MARY: (INSIDE) Here I come, ready or not. (STRETCHING ACROSS TO DRIVER'S SIDE DOOR.) Why won't you get my door fixed.
9. FREDDIE : Money, money, money, it's a rich man's world. (singing)
10. FX: MARY JOINS HER.
11. MARY: Don't get too wet. I can't run.
12. FREDDIE: Key, key, where's the damn -
13. MARY: The window box here is fading, look the geraniums have got frost -
14. FREDDIE: Got it.
15. SPOT: KEY IN LOCK. DOOR OPENED.
16. FX: FADE IN HALLWAY INTERIOR.
17. FREDDIE: Home at last. Grab my coat, will you?
18. SPOT: COAT THROWN AT MARY
19. MARY: It's wet. Uggh.
20. FREDDIE: I'll tell Flo the news now. It's best.
21. SPOT: MARY TAKES OFF HER COAT. WE GO WITH FREDDIE UP STAIRS
22. MARY: She'll be studying. Call her first.
1. FX: FREDDIE UP STAIRS. FOOTSTEPS ON WOODEN STAIRS.
2. FREDDIE: Wakey, wakey. Flo. Stop that dreary old philosophy. No more Kant, no more Freud. Have I got news for you.
3. SPOT: FREDDIE RESTS ON STAIRS. CALLS DOWN.
4. FREDDIE: Mary, pour me a glass of that mineral water in the fridge. That'll be real Doris Day of you.
5. MARY: (FROM BELOW, SINGING) A woman's touch - coming up soon to a table near you.
6. SPOT: STEPS UP LAST STAIRS TO WOODEN FLOOR TO DOOR.
7. FREDDIE: (singing) A woman's touch -
8. SPOT: KNOCKING ON DOOR
9. FREDDIE: Flo, - Flo - can I come in?
10. FLO: (FROM INSIDE) Bugger off.
11. FREDDIE: Be a good girlie, for me, it's news, gossip -
12. FLO: (FROM INSIDE) I'm on my last page of this pigging essay.
13. SPOT: DOOR OPENED AND PUSHED CLOSED AGAIN
14. FLO: Bugger off
15. FREDDIE: Please, o chatelaine.
16. SPOT: DOOR OPENED
17. FLO: Make it good.
18. FX: BEDROOM INTERIOR ACOUSTIC. MUSIC PLAYING LOW.
19. FREDDIE: At the party, guess? - I met Bonnie and Sheila.
1. SPOT: FLO CLEARS BOOKS AND SITS ON BED
2. FLO: Suddenly you become a welcome messenger.
3. FREDDIE: Schopenhauer - you traitor (giggling)
4. SPOT: BOOK THROWN DOWN
5. FLO: Visit of the thought police. Get on with it.
6. FREDDIE: It's definitely on again. The Sheila and Bonnie couple were being very couple-ish. No shouting. Sweetness and light.
7. FLO: The plot thins. Is that it?
8. FREDDIE: You're going all Schopenhauer on me again, you rebel.
9. MARY: (FROM BELOW) Freddie, Freddie - (calling continuously)
10. FLO: What's that?
11. SPOT: (TURNS DOWN RADIO IN ROOM)
12. FREDDIE: (OUT OF DOOR) What is it Mary?
13. MARY: They're at the car. There's some boys at the car. Breaking in.
14. FREDDIE: I'm coming. I'm coming
15. SPOT: FREDDIE RUSHES DOWN STAIRS. WE STAY WITH FLO.
16. FREDDIE: (FROM STAIRS) Throw me down your rape alarm, Flo. I saw it by your bed.
17. SPOT: RUMMAGING, BOOKS FALL OVER. BED CLOTHES
18. FLO: Where? Where? Here - (CALLING) I've got it.
19. FREDDIE: (FROM STAIRS) Throw it over the bannisters.
20. FX: WE GO WITH FLO
21. FLO: Here - catch - got it?
1. FREDDIE: (FROM HALL) Right, got it. It's a catch.
2. MARY: I'm with you. See them?
3. FLO: Just set if off and throw it out the door. I'm coming down.
4. SPOT: STEPS DOWN
5. FREDDIE: Do you just push the top down? Mine's got a button.
6. FLO: (ARRIVING) Here- yes - yes - (HALLWAY)
7. MARY: I'll hold the door, you go through -
8. FREDDIE: I'll just take a few steps out and throw it in the bushes.
9. FLO: Good thinking.
10. MARY: Ready team? Good luck.
11. SPOT: DOOR OPENED.
12. FREDDIE: I'm getting used to this -
13. MARY: Just do it -
14. FLO: She's out - she's going to -
15. FX: (PERSONAL ALARM SET OFF)
16. MARY: The noise -
17. FLO: They're running off - yippee -
18. SPOT: BANGING ON DOOR
19. FREDDIE: (OUTSIDE) Let me in again, you girlies -
20. SPOT: DOOR OPENED AND CLOSED FOR FREDDIE
21. MARY: We did it. (giggling)
22. FREDDIE: Teamwork
23. FLO: Freddie the hero. (giggling and relief)
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