ANTONIO ANDOLINI: THE ART OF SOUND

Written by

PATRICK SLATTERY
 FADE IN:

INT. SURFERS PARADISE - ITALIAN RESTAURANT - NIGHT

Sunlight dies on the horizon, spawning an ecstatic night-

life. People are talking, laughing and loving amidst a warm
and vibrant city. On the corner of one of the busiest blocks
is an italian restaurant.

Inside sit two colorful individuals: DIGGER MACMILLAN, 21,

South African, and his friend, PJ MARFI, 25, also South
African. The two young men converse over a bowl of spaghetti.

DIGGER MACMILLAN
...What would a film be without
sound?

PJ MARFI
It would still be a film.

DIGGER MACMILLAN
A really bad one.

PJ MARFI
Digger, film is a visual medium. If
you have visuals then everything
else is expendable. Have you seen
The Artist?

DIGGER MACMILLAN
Yes, and I hated it.

PJ MARFI
The point is that sound was
detrimental to the art...

DIGGER MACMILLAN
...That wasnt the point of the
film.

PJ MARFI
Whatever. I only saw the first
twenty minutes and that was my
interpretation. The Artist
strikes a comparison between silent
and contemporary cinema.

DIGGER MACMILLAN
And in conclusion, contemporary
cinema wins. The ironic thing is
that I didnt understand anything
until I could actually hear it
after forty minutes of screen-time.
 2.

PJ MARFI
Silent films have subtitles.

DIGGER MACMILLAN
Who goes to the cinema to read? I
watch movies intentionally to avoid
using that part of my brain.

PJ MARFI
Thats your opinion Digger. Nobody
else in the industry would ever
agree with you...

DIGGER MACMILLAN
...And furthermore why did they
shoot black and white? Why did they
shoot with a four by three crop?
Its like giving the finger to
every technological advancement
thats been made.

PJ MARFI
You dont need bright colors, lens
flares and a pretentious cine crop
to make a film. The Artist made
those decisions to convey meaning.

DIGGER MACMILLAN
The only thing thats pretentious
is downsizing your creative
latitude because you think you
dont need it. The audience needs
to decide if they like the film
first. Sound is fifty percent of a
film - theyve thrown it away. Film
is a visual medium? Theyve thrown
away another twenty-five percent by
cutting off their edge of frame.

PJ scoffs.

DIGGER MACMILLAN (CONTD)

The people have paid eighteen
dollars to watch one hundred
percent of a film and they get one
quarter of what they paid for.
Thats problem number one; the
symbolism, metaphors and allegories
are secondary.

PJ MARFI
(Beat)
Why is this important to you?
 3.

DIGGER MACMILLAN
I want to make a great film PJ. A
truly great film. And I want to
prove to the world that sound is as
integral to the film as picture.
And if Im going to do it then I
need a great boom operator, not
some tech-head who records sound
because they think mixers and 416
microphones look cool. Those people
are a disgrace; its like hearing a
visual artist say they paint
because they have a fetish for
paintbrushes. I dont want a
paintbrush fanatic, I want an
artist passionate about creative
expressionism, appreciative of
sound because its beautiful.

PJ MARFI
(Beat)
Wow... Youre starting to sound
like a bit of a faggot.

DIGGER MACMILLAN
I want you to find and recruit this
person for me because youre my
friend, and my producer and thats
your responsibility.

PJ MARFI
Auteur boom operators dont exist
anymore, only in dreams.
(Beat)
Youre asking me to dig up bones.

DIGGER MACMILLAN
Im asking you to try.
(Beat)
Its time to rekindle your faith
PJ. The world needs artists now
more than ever. We have an
opportunity to reignite a
generation of auteurs.

PJ MARFI
I dont see the potential Digger.
How does an auteur boom operator, a
relic of filmmaking, remind the
world that sound is important? How
does that rebirth an industry?
 4.

DIGGER MACMILLAN
Let me put it this way, after my
film is made people will no longer
say to their friends, lets go see
a movie. Instead theyll say,
lets go HEAR a movie.

PJ finally realizes Diggers vision and is immediately gob-

smacked.

PJ MARFI
I want to help you Digger. I
believe in you, but I dont know
how I could convince an auteur boom
operator to work for us.

DIGGER MACMILLAN
Youre the best producer I know PJ.
Im sure youll figure it out. Do
you have anyone in mind?

PJ MARFI
I think so.
(Beat)
Theres this guy. Well, a legend;
they say hes worshipped in some
corners as a deity.

DIGGER MACMILLAN
Who is he?

PJ MARFI
I dont know him personally; its
all Chinese whispers, but they say
hes the best boom operator in the
world; A ghost that hears
everything.
(Beat)
He could be the guy youre looking
for.

DIGGER MACMILLAN
Only one way to be sure. Where do
we find him?

PJ MARFI
I dont even know if hes real, let
alone where to find him.
(Beat)
The names italian though.

DIGGER MACMILLAN
What is it?
 5.

PJ is taken aback, with a reluctance to answer the question.

PJ MARFI
(Beat)
Antonio Andolini.

FADE TO BLACK.

SUPER: Antonio Andolini: The Art of Sound

FADE IN:

EXT. ITALY - SICILY - ANTONIOS VILLAGE - MARKET - DAY

Happiness oozes in the warm, calmed Sicilian village. Italian

people ride their bikes, drink lemonade and roll pizzas. In
the distance is a vast grassland for grazing.

EXT. ITALY - SICILY - ANTONIOS VILLAGE - GRASSLAND - EVENING

The sun sets behind a hill. Silhouetted shapes of CHILDREN, a

MOTHER, Adelina, 40s, and sheep appear. A large and
empowering figure rises from the back - ANTONIO ANDOLINI,
long flowing hair, wise, sexy and passionate.

He herds the sheep as his hair blows in the wind and the cute
little Sicilian children playfully run by his side. Antonio
picks up one of the young children, LUCA, 8, and tosses him.
The child laughs with glee, filling Antonio with a nostalgic
joy.

LUCA
Antonio, why do you never come to
our house for dinner?

ANTONIO ANDOLINI
Because it is not my place little
man. It is your mothers house, and
I would never dare intrude.

LUCA
But mother says you can!

ADELINA
Youre welcome to have dinner with
us Antonio. It is the least we can
offer for all the work that you
have done.
 6.

ANTONIO ANDOLINI
The work is of no consequence
Adelina. I am flattered, but I must
decline. Commitments you see...

ADELINA
What commitments? Our village trade
tomatoes. That is all we do. You
have helped me grow and pick all
the tomatoes on my husbands farm.
What else is there for you to do
here?

ANTONIO ANDOLINI
I wish I could say.
(Beat)
My old job has left entanglements
that I must thaw out. It is best
that I do not discuss such things
with you.

LUCA
What old job?

Adelina becomes frustrated with her child.

ADELINA
Luca, what have I told you about
prying into a mans affairs.

LUCA
But I want to know.

ADELINA
Luca!

Antonio laughs.

ANTONIO ANDOLINI
(To Luca)
Maybe one day I will tell you
little man, but not today.

ADELINA
(To Antonio Andolini)
I am sorry Antonio.

ANTONIO ANDOLINI
It is okay Adelina. The boy is
young and curious. He still has so
much to learn about the world.

Antonio scruffles the boys hair.

 7.

INT. ITALY - SICILY - ANTONIOS FARMHOUSE - NIGHT

The farmhouse is made of timber and populated with horses and

barnyard animals.

Antonio sits on a haystack with a canvas in front of him. He

is painting one of the stallions. Antonios brush motions are
smooth and the horses beauty brings a soft smile to his
face; the process is therapeutic.

A back door opens and Luca abruptly enters. The boy is

crying.

LUCA
You lied to us!

ANTONIO ANDOLINI
Luca!

LUCA
You told us you had commitments.

Luca knocks over Antonios paint palette.

LUCA (CONTD)
Is this what you call a commitment?

ANTONIO ANDOLINI
Go home little man. This is not the
time and place.

LUCA
It never is! You come to our farm,
do all the work and then leave.
Tell me who you are.

ANTONIO ANDOLINI
You do not want to know who I am,
only that which you do not. There
is no purpose little man.

LUCA
But there is. I want to learn from
you.

ANTONIO ANDOLINI
I am not your father Luca! And I
cannot be his replacement.

LUCA
I know, but please.
(Beat)
Tell me who you are. I want to
know.
 8.

ANTONIO ANDOLINI
You want to learn from me?

LUCA
Yes.

ANTONIO ANDOLINI
Lesson number one: when the pupil
is ready the master will appear.

Antonio looks to a wall on the far side of the farmhouse.

ANTONIO ANDOLINI (CONTD)

The pupil is not ready.

Luca stares disappointingly. He grudgingly accepts Antonios

stubbornness and walks away.

LUCA
You liar!

On his way out, Luca kicks the wall that Antonio had been
staring at. The wall collapses revealing a dozen boom poles
rested inside. The boys jaw drops.

Antonio immediately realizes what has happened and rushes

over to block his vision, but it is too late. Antonio stops
next to Luca as he continues to stare.

LUCA (CONTD)
What are these?

A single teardrop falls down Antonios cheek.

ANTONIO ANDOLINI
Remnants of a life that I left
behind, and we shall leave it at
that.

EXT. ITALY - SICILY - ANTONIOS VILLAGE - MARKET - AFTERNOON

Luca plays with a soccer ball, while Adelina works at a

nearby stall selling tomatoes. She is in a heated argument
with a suited individual, DOMINIC, 30s.

Dominic goads her by chewing the tomatoes and spitting them

onto the ground. Although acquainted, Adelina is scared.

DOMINIC
(Laughs)
These tomatoes are smaller than
fucking acorns.
 9.

ADELINA
I am sorry. It is the best I can
offer you.

DOMINIC
How much?

ADELINA
Eighty cents per pound.

DOMINIC
Are you kidding me?

ADELINA
We have been through a drought
these last months, and because of
my husbands death there has been
only Luca to help me manage the
farm.

Dominic clenches Adelinas jaw. Luca sees this and freezes.

DOMINIC
Dont lie to me bitch. I have seen
the man helping you grow tomatoes.
Who is he?

ADELINA
Nobody, just a friend.

Dominic releases her from his grip.

DOMINIC
A friend.
(Beat)
Remember when I asked for your hand
in marriage?

ADELINA
Yes, and I said no. My husband and
I were lovers.

DOMINIC
But you remember?

ADELINA
Yes I remember.

DOMINIC
Were were only children, so dont
pretend you knew anything about
love.

Adelina nods he head.

 10.

DOMINIC (CONTD)
Do you know how embarrassing it is
for me - and rich man of noble
birth - to propose to a farm girl,
only so she could reject me in
favour of a drunken peasant?

ADELINA
My husband was not a peasant, he
was an honest man. A good man,
unlike you.

Dominic begins circling Adelina, making her feel

claustrophobic.

DOMINIC
Then how come - barely a year since
your husbands passing - you decide
to become a whore.

ADELINA
Excuse me?

DOMINIC
...It must be hard to resist a man
of such physicality; one who can
provide money and comfort.

ADELINA
Antonio is a friend, nothing more.

DOMINIC
So that is his name - Antonio.
(Beat)
How did it feel after your first
night with him? Did you hear the
beckoning screams of your dead
husband squelch out of your rotten
cunt?

Adelina slaps Dom across the face. She backs away, horrified.
Dominic is both shocked and disgusted. He kicks over the
tomato stall and throws Adelina to the ground. Luca prepares
to run over and help his mother.

ADELINA
Run Luca!

Luca turns around and heads for the grassland.

DOMINIC
If the life of a whore is what you
have chosen then I must oblige.
 11.

Dominic takes off his belt and unzips his pants. He pins
Adelina to the ground and rapes her.

INSERT SHOT OF ADELINA SQUASHING A TOMATO IN HER HAND WHILE

SHE IS BEING PENETRATED.

EXT. ITALY - SICILY - ANTONIOS VILLAGE - GRASSLAND - EVENING

The sun sets over the hill. Adelina sits down in the grass
and cries - bloodied and bruised.

Antonio emerges from behind the hill and runs to her side. He
bends a knee and cradles Adelinas head in his hands.

ANTONIO ANDOLINI
Luca told me what happened, but I
was too late.

Adelina presses her head to Antonios chest and continues to

cry.

ANTONIO ANDOLINI (CONTD)

Who did this?

ADELINA
I cannot tell you.

ANTONIO ANDOLINI
You must. I am not afraid.

ADELINA
I know. I am afraid.
(Beat)
I am afraid that you will try to
kill him.

ANTONIO ANDOLINI
And why should I not do such a
thing? This man raped you!

ADELINA
This man buys my tomatoes. Without
him I lose a customer. I barely
have enough money to feed my dear
Luca. I need the money Antonio.

ANTONIO ANDOLINI
No sum of money is worth such a
thing.
 12.

ADELINA
Do you think I have a choice? Your
work pays enough for me to survive
Antonio, but I do not want to
survive - I WANT TO LIVE.

Antonio realizes the predicament and sheds a tear.

ANTONIO ANDOLINI
Adelina, listen to me.

Adelina looks up to him.

ANTONIO ANDOLINI (CONTD)

This will never happen again, do
you understand?
(Beat)
I will give you all the money you
need.

ADELINA
How? You live in a barn.
(Beat)
Do not steal Antonio. I refuse to
accept dirty money.

ANTONIO ANDOLINI
I am not a criminal. The money will
be pure. Give me two months and I
promise you that your family will
never suffer again.

INT. AUSTRALIA - BRISBANE - SCREEN AUSTRALIA - PITCHING ROOM -

DAY
13.