In Talk Radio, Oliver Stone brings together all venues of filmmaking to capture the story he wants to tell. With tremendous collaboration from the DP, the production designer, the writer, and the performers, Stone calculated a tight, moving film in high style.Beginning with the script, Stone and Bogosian formed a laborious respect in the nature of the piece. They each understood the underlying theme that Barry repeats over and over again. If you dont like it, why dont you turn it off? (sic) They went after the build up of Barrys paranoia and need for voice/attention, knowing all along he would have to die for the film to mean anything. We start the film off in the clutches of its finale; the crazed fan waiting for his prey in smoke. It is only until Barry can recognize the error in his ways that he can be taken from the world to speak louder than any airwave or radio signal. This is wonderfully shown in the voice montage of callers.The idea of the radio station being a safe world unto its own, where no light penetrates and no one from the real world can gain access, is a wonderful metaphor for Barry himself. A loud talking, overly proud shock jock, who cannot afford to let anyone in. The world of the station has no windows, no warm light, and no ties to the ugly city around it. Barry dresses in black, like the studio, which is set in contempo-modern deco blacks and grays. He talks about subjects no one wants to admit is true. We are constantly in shadow, always hearing and watching two different stories, and wondering where itll go.Stone keeps us constantly aware of how Barry affects those around him and at the center of attention. Using moving shots, reflection focus pulls, dimming lights, and split diopters we never lose sight of the choices Barry is making and what its doing to those around him. This is essential to keep the action and momentum up in a one room monologue driven story. Stone never let us down in a pla...
