After the First Viewing
Attempt to answer these questions after the first viewing. You may not be able to answer them all at this stage, but the
questions will be a good guide to what to look for as you study the film more closely.
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Before you start, note down your immediate responses to what you have seen. How did the film make you feel? Did it
make you think? Were your opinions or attitudes changed by it? Which characters did you empathise with? dislike? feel
sorry for? What do you think are the most important ideas being explored?
1. In what ways can Truman's life in Seahaven be seen as
'heaven'?
It can be seen to be in many ways the so-called 'American
dream'. Truman has a nice house in a wonderful little town,
which is clean, tidy and crime-free; even a token model
African-American family. His 'homeless' dad looks
shockingly out of place. As Christof tells him, Seahaven is
safe, heavily protected from outside influences. He has a
beautiful wife, and is surrounded by plenty of shiny new
things. He has a decent job – a 'desk job' – and a good
buddy. He seems to have everything that the average
American is supposed to want.
2. Why is he dissatisfied with this life? What could be seen
as being wrong with it?
Its very safety bores Truman. He needs some adventure,
some challenge. He can't believe that this is all there is to
life. His marriage is not based on any deep affection; he
comes to realise that Meryl doesn't really like him.
And the town lacks any cultural or social diversity. It is
bland. Its values belong to the past; it is set firmly in the
middle class milieu of the Fifties. (This is reinforced by the
fashions which are taken from the 1940s and 1950s.) The
things Truman is supposed to value – material goods, a desk
job, the suburban life – might have mattered to those who
came through the Depression and the Second World War
with their deprivations and insecurities, but seem almost
irrelevant and passé today – though they are still touted in
election years by American politicians who live in
Washington but continually laud 'small town virtues'.
Republicans at the recent (2008) convention actually quoted
"1950s America" as their ideal.
3. At what moment did you become aware that Truman was
being filmed all the time?
Responses will differ. Possibly as early as the first 'LIVE' on
screen; perhaps when he is in his car and is being filmed
through the radio – the station numbers are shown in mirror
image. Certainly when the film cuts to the security guards
who are watching him on TV.
4. How do we know that we are being shown
more of Truman's world than could be shown
to the TV audiences?
The camera shot of the falling light. Its fall is so
sudden that the technicians would not have had
time to switch to it before it landed, and even if
they had seen it, they are extremely unlikely to
broadcast a technical fault like this. The filming
of the dance, when Truman and Sylvia
exchange smiles, and she is hustled away. As
well, the cameras generally don't have any sort
of lag which you would expect if they are
following Truman live, with no opportunity for
editing.
Although the flashback of his meeting Meryl and
Sylvia is explicitly shown as being on the TV
broadcast, the one of the storm seems a more
conventional F/B (i.e. just Truman's memory) –
though it is possible the technicians expected to
find a moment to cut it in. (See p. 36 for more
on this.)
5. What is the first indication to Truman that his
world is not what it seems? How is this
explained?
A theatre light falls from the sky, landing only
metres from Truman. It is immediately followed
by a radio news flash explaining that a plane has
dropped parts onto Seahaven Island.
6. What previous clues has Truman ignored or
been distracted from?
Most importantly, the warning from Sylvia, which
was covered up by accusing her character of
schizophrenia. The man in the Christmas box;
being snatched back from looking over the rocks
– though he was very young then.
7. What other events now cause him to become
increasingly suspicious?
 Rain falls mysteriously only on Truman where he sits
on the beach; he runs out of the shower and it
follows.
 Truman’s dead 'father' reappears as a homeless
vagrant – very unusual in this ideal town. His rapid
removal only makes Truman more suspicious.
 When Truman's car radio becomes scrambled, he
overhears the TV producers’ communications about
his movements. He begins to realise that he is
being followed (he notices the man in the pink suit)
and becomes suspicious of the way the town seems
to be centred on him – a theory he tests by stopping
traffic.
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He enters a building that is not part of his usual
routine – the Omnicom building – and sees behind
the scenes: an elevator with no back that is actually
a green room, with food for extras. He is thrown out
of the building.
Looking at family photos, he comments on how
small Mount Rushmore seems, and notices Meryl's
crossed fingers in a wedding picture.
He realises that the traffic and extras are repeating
on a loop.
He becomes conscious of the shameless product
placements that Meryl manages to fit into their
conversations.
His attempts to leave the island are all thwarted –
traffic suddenly appears, forest fires, nuclear power
plant leaks.
8. What methods have been used to keep Truman on
the island and to ensure he doesn't want to leave?
 the main one was creating in him a fear of water so
he can't cross the bridge or sail away
 his declared ambition to be an explorer is quickly
squashed (shown in flashback)
 Marlon has supposedly worked off the island –
probably the actor's holiday, or maybe he was in
rehab – and says no place is better the Seahaven
 news reports, posters, newspaper headlines extol
Seahaven as paradise; his car's number plate says
'a nice place to live'
 posters and radio warn of dangers of travel and
flying
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
Meryl says they can't afford to travel,
and that having a baby should be
"adventure enough"
When Sylvia is hustled away, his
mother is suddenly seriously ill, so he
can't try to find her (mentioned by one
of the barmaids)
9. In how many different ways does
Truman try to leave the island? List
them. How is he stopped?
he is unable to cross the bridge as a
boy (a dog stops him)
sunken boat
he tries to book a plane to Fiji – no
seats
he catches a bus to Chicago –
mechanical trouble
he manages to cross the bridge by
closing his eyes and making Meryl
steer the car, but, though he then
drives through the 'forest fire', he is
arrested when he tries to evade the
nuclear power security
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he finally sets sails; Christof sends a
storm that actually threatens his life; he
weathers it
he finds the stairs and exit – and,
unconvinced by Christof's pleas, walks
out
10. What is written on Lauren's button?
What is the significance of this?
'How is it going to end?' She has
'infiltrated' the cast with an agenda – to
rescue Truman.
OR having been cast as an extra, she
has become fond of him and decides to
try to open his eyes to the truth.
11. Everybody in Seahaven seems to
love Truman. Do they? Is there
evidence to the contrary?
It is fairly clear that Meryl doesn't like
him that much – Truman says so later.
When the cast is searching for Truman,
one of the twins says, "Let's find the
sonofabitch". Marlon seems to have
some affection for him but his greater
loyalty is to Christof and to his job.
12. 'The Truman Show' broadcasts 24 hours a day
without ad breaks. How is it paid for?
Product placement – everything in the show is for
sale. And souvenirs – the Truman Bar and viewers'
rooms are full of them: plates, mugs, cushions,
baseball caps, dolls' houses, Meryl dolls, embroidery
patterns, cast photographs etc.
13. How does the show remain interesting to
viewers even when Truman is asleep?
This is when they put in flashbacks, interviews etc. Or
simply show him asleep, which apparently comforts
people. [One assumes that the show is broadcast
round the world with time delays, or most of the rest of
the world would have Truman's night during the day
and his daytime activities at night. This issue is never
addressed.]
14. What kind of scenes in the show are deliberately
censored by the show's producers and why?
Truman is not shown in bed with Meryl – though sex is
implied, as children are talked of. The show doesn't
encourage prurience. Nor presumably is he shown
bathing or showering, in the toilet etc.
15. What kind of scenes in the show are exploited
for the greatest impact by the show's producers
and why?
Emotional scenes (Truman's reunion with his father,
the 'stolen kiss' etc) and danger (the boating accident)
all push up the ratings
When we watch a film for the first time, we usually watch for the story; when we see it again, we are more likely to notice how
the story is told. However, you may already have noticed some of the striking techniques used or other aspects of the
production.

Make a note of any significant techniques you remember seeing. You might think about the use of the
camera, special or visual effects, or the use of motifs (objects, images or phrases repeated.)
It isn't important what if anything has been noticed at this stage; the value in this exercise is the awareness
students get of how much more they are able to see as they study the film.
They might list unusual camera angles, the vignetting of shots, the increasing use of CUTAWAYS and
MONTAGE as the film progresses; some obvious motifs.

Did you notice anything significant about the clothes worn by characters in the TV 'Truman Show'?
Or about the colours of the clothes and the town?
Fashions are all retro – they belong in the 40s and 50s: dresses with big skirts and waists; women in hats –
and men too. They help to suggest this 'ideal' world is a hankering for the past – and a mythical past at that.
The other noticeable thing is the colour co-ordination of the clothes – and everything else in Seahaven.
Freeze on any Seahaven scene and you will see the same few colours, all toning. See 'Design and Setting'
for more detail.
Initial Quiz
How well did you watch? Test your memory of detail against these questions.
Some of the questions are minor, some more significant. Your score will indicate whether you
notice and remember details. You will find this quiz equally useful later for revision.
1.
What is the name of the town where Truman lives?
Seahaven
2.
What is his surname?
Burbank
3.
What is the name of his wife? How long have they been married?
Meryl; about five years.
4.
and that of his best friend?
Marlon
5.
What is Truman's job?
insurance agent
6.
What is his wife's job?
surgical nurse
7.
And what does his best friend do?
stocks snack vending machines
8.
Truman is the only person on the show who does not know he is on
television. True or false?
true
9. What is Sylvia's name in Seahaven? What subject is she
supposed to be studying?
Lauren Garland; Japanese
10. How did Truman meet his wife?
she 'bumps' into him at a school dance
11. What is his father's name?
Kirk
12. Why is Truman arrested?
he runs away – from a supposed nuclear
power plant leak
13. What happens to make him suspicious and cause him to try to run?
one of the policemen calls him Truman
14. After Truman's 'father' returns to the show, what reason will be given for
his long absence?
he was suffering from amnesia
15. How many years was he missing?
22
16. What major change in Truman's life is introduced in an attempt to keep
him happy?
a new love interest – Vivien
17. How does Truman manage to escape the cameras?
tunnels out from his closet in the basement
18. What does he put in his bed to make them think he is still there?
a blow-up snowman and a tape recorder
19. What is the location of the TV show control room?
in the moon
20. What is the name of the control room?
Lunar Room in the Omni-cam Ecosphere
21. Who is the man in charge?
Christof
22. For how long has the show been running?
nearly 30 years (10,909 days)
23. What souvenir does the old lady clutch as she watches TV?
a Truman cushion
24. How did Truman get chosen to be the star of his own television show?
he was born at the right time
25. Truman is pushed up against a poster advertising what?
Kaiser free-range chickens; Carlton houses
26. What is the name of the Dalmatian dog that jumps up at Truman?
Pluto
27. What is his neighbour Spencer always seen doing?
carrying out his trash can
28. What is the name of the model African-American family he greets each
morning?
Washington
29. Where does Truman dream of going?
Fiji
30. What colour is Truman's suitcase?
red / tartan
31. Where is the bus going to that Truman gets on?
Chicago
32. What is the name of the yacht Truman sails to freedom on?
Santa Maria
33. What drink does Truman's wife give him after he is arrested?
Mococoa
34. What is Truman pretending to be when we first see him?
a mountain climber, climbing a dangerous
peak – and being used as food
35. What does he pretend to be when he talks to the mirror near the end?
space explorer Major Burbank, naming a
"planet Trumania of the Burbank galaxy"
Plot Analysis and Narrative Structure
1.
Write a brief outline of the plot of the film, or complete the worksheet.
2.
The plot of The Truman Show is unusual, with three separate yet connected strands.
a.
Identify these three strands.
b.
Construct a diagram showing the major events (you don't need to include every event) and the way the
three strands interconnect.
(See Appendix for a detailed structure diagram.)
Plots traditionally have a protagonist (the central character) and one or more antagonists – the person or people
that the protagonist needs to defeat in order to achieve his or her goals.
3.
Who is the protagonist in this film? And who is the antagonist?
Truman is the protagonist – of the film and of his life-story as broadcast.
Christof is the antagonist – he does everything he can to keep Truman from escaping from his control. On
another level, both Marlon and Meryl – and indeed everyone in his enclosed world – can be seen as
antagonists. Sylvia is his only ally – and she is powerless.
Narrative or plot structure is the term used to describe the organisation of the story, including the order in which
a story is told. The most common ways in which stories are told are
a. in simple chronological order, i.e. the order in which the events happen;
b. in chronological order but with flashbacks, i.e. earlier events are included after they actually happened
c. with a frame of later time, and the whole story a flashback (book-ending)
d. with flash forwards, in which future events are included earlier than they actually happen.
4.
Which of these descriptions best fits the structure of this film?
b:
5.
basically chronological but a few flashbacks fill in details of Truman's earlier life.
How does the film both illustrate and make use of the difference between the type of story telling
typical of film and that of TV?
Even though cinema and television often transmit the same material, the experience of a movie shown
on a TV screen is significantly different from the experience in a cinema. The cinema is enclosed, dark and
without distraction – conditions are optimal for our undivided attention, and the film plays without interruption
from adverts. Television viewing does not allow the same sort of immersion: lights are usually on, and there
are endless possibilities for distraction – other people, other impulses (a cup of coffee), and the possibility of
changing channels. The screen is smaller, the sound and image quality are generally poorer, and there is
usually the constant interruption of commercials. This is why Marshall McLuhan called TV a 'cold' medium,
as opposed to the 'hot' medium of cinema. These different viewing conditions have a significant influence on
the type of narrative that better suits each medium.
Most feature films last about 90 –120 minutes (about the same length as a theatrical performance) and
so their narrative plots favour the Aristotelian pattern of exposition, complication, climax and resolution. In
fact, Aristotelian dramaturgy has become something of a bible for Hollywood scriptwriters.
Because television shows 24 hours a day, 7 days a week, 52 weeks a year, its narratives may stretch
over a considerable period of time, even though the actual programme may occupy only a limited slot in the
weekly schedule. The type of narrative that suits television is thus not the self-contained Aristotelian plot but
the never-ending serial with multiple characters, parallel plot lines and a largely episodic structure. This
endless stretching of narrative time takes the emphasis off action and redirects it onto character. Viewers
develop emotional attachments (or antagonisms) to the main characters of a show and for the often
eponymous actors who play these characters. Because TV narrative stretches out indefinitely in time, its plot
is continually in the process of being written, which means that the audience can offer feed-back to the
scriptwriters, either indirectly through polls or directly through fan clubs, fan magazines and online chat
groups. Because of this, the television serial narrative is far more interactive than a movie drama can
possibly be.
The broadcast 'Truman Show' is supposed to be “live and unedited", but the movie filters out most of the
minutiae of Truman's life, leaving only its dramatic highlights. The episodic and character-centred TV
narrative is reshaped by the movie into a plot-centred Aristotelian structure.
The discrepancy between the two modes of narrative is particularly evident in the use of flash-backs. As
a real-time and continually produced narrative, the televised 'Truman Show' would not allow any of the
editing or selection necessary for flash-backs. In a genuine real-time situation, producers have no choice but
to tell events in the exact order of their occurrence; they cannot delete meaningless or non-functional events,
since this can be assessed only in retrospect. Even 'action replays' in sport can be inserted only at the
expense of current action. The only choice allowed is among the many cameras that simultaneously record
the events from various points of view. But in the movie, the life story of Truman is presented in a classical
non-chronological style, with a beginning in medias res and including two flash-backs to earlier episodes in
the show. It is possible that previous events could be shown while Truman is asleep, but in the film they are
intercut at the appropriate narrative place.
6.
How 'real' is Truman's life, as shown in the film? Is 'The Truman Show' fiction or non-fiction?
The televised 'Truman Show' is a hybrid, both fiction and non-fiction; it blurs the boundaries between the two.
The fictionality of the text depends on the perspective of different characters. From Truman’s point of view,
the show is clearly real 'life'; it is equally clearly 'fiction' from the point of view of the actors who play roles in
it.
One fundamental difference between fiction and non-fiction is in duplicity. All the actors have two identities –
as themselves and in the roles they play: Louis Coltrane plays Marlon, Sylvia plays Lauren Garland, Hannah
Gill plays Meryl. Truman has only one identity – as himself. As Christof tells him, "You were real."
The fact that his life is staged is not on its own sufficient to make it fiction. Real life is full of 'scripted' events
and situations that do not fictionalise our lives – wedding ceremonies, baptisms, court cases etc, in which our
reactions and responses are both as genuine and as manipulated as anything in Truman's world. The public
lives of royals and other celebrities have this semi-scripted quality to them much of the time. As Louis
Coltrane, the actor who plays Truman’s best friend Marlon, says: “Nothing is fake. Everything is true. It is
merely controlled.”
Narrative structure does not mean just the order in which the story is told; the term refers to the whole structural
framework that underlies the order and manner in which a story is presented.
An important aspect of storytelling is point of view: who tells the story, from whose perspective the events are
shown and/or seen.
7.
From whose point of view is the story told in this film?
POV varies – and is complex.
The main narrative that involves Truman presents events from his POV, as he tries to make sense of his
world, but at the same time this is the POV of the viewers, as they watch him try to make sense of his world.
Occasionally we are given Meryl's or Marlon's POV, within the 'Truman Show' narrative.
Christof's POV becomes increasingly important in the second half of the film. Sometimes the POV of other
technicians in the Lunar Room is given.
And then the POVs of specific members of the public, and of Sylvia, are given as they watch the show on
TV. Their reactions to what is being shown provide an indicator of the level of significance of the events in
Truman's life that are being screened. Sylvia's reactions are personal and compassionate; the other viewers
tend to see him more as public property, though with affection.
Narratives often involve a series of problems to be met and solved, or obstacles to be overcome, (often like
taking two steps forward and one step back), until the resolution is reached.
8.
List the main obstacles and/or problems faced by Truman. Comment on the outcome of each.
a.
Truman's initial suspicion after the light falls; a radio announcement suggests its origins.
b.
He does not know Sylvia's phone number in Fiji; he is told it does not exist.
c.
He recognises his 'father' in the street; his father is grabbed and rushed onto a bus, while pedestrians
and vehicles block Truman's way. His 'mother' reassures him.
d.
His earlier attempts at romance with Lauren/Sylvia (shown in flashback) were thwarted; she was hustled
away and Truman didn't see her again. His mother was suddenly ill, to prevent his pursuing this.
e.
Confused and uncertain about what is happening, he tests his new perceptions by dashing
unexpectedly into a building; he is unceremoniously ejected.
f.
He tries to enlist Marlon's help; Marlon placates him. He tries to talk to Meryl; she evades him. He is
hustled out of the hospital.
g.
He tries to leave the island; he is blocked at every attempt. He does get across the bridge; he is
arrested and returned home.
h.
He tries to have it out with Meryl; she gets frightened and Marlon is sent to the rescue.
i.
Marlon lies to him, denying Truman's discoveries. His 'father' is sent to him for an emotional reunion.
j.
Realising that he will be stopped but determined to get away, he pretends all is well and secretly
escapes by tunnel and boat. A search party fails to find him.
k.
The major obstacle of his fear of water is conquered by his greater need to escape. A life-threatening
storm is sent to stop him but he survives and reaches the edge of his world.
l.
Christof tries to persuade him to stay but Truman leaves.
Early scenes may set up expectations of the main character(s) that will affect the structure of the story.
9.
Can you identify examples of this?
In spite of living in the 'perfect' town, Truman is shown to be not satisfied with his life. He is reluctant to go to
work; he fantasises being in a life-threatening situation; he tries to find Sylvia's phone number; he tells Meryl
that he wants to leave Seahaven and have an adventure. His fear of water is established – this both
impedes his attempts to leave but also leads to his greatest personal triumph.
Time is always an important consideration in a screenplay; a feature film may cover days, weeks, even years of
real time, so ways of showing time passing are needed.
10. How much time is covered in this film? Can you work out a timeline? [Use your structure diagram.]
Five days – though episodes from the previous 29 years are shown in flashback. The actual day is shown
on the sign in the Truman Bar. That the calendar measures in days rather than years or months emphasises
the way daily ratings are important in television. One problem has "sponsors threatening to tear up their
contracts".
Some of the ways the passing of time may be indicated include:

fades or dissolves

changing light
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showing a clock or a calendar
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references in dialogue
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dates or times on screen
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seasonal differences – winter to summer
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cuts to the same scene at a clearly later time, e.g. from full plates to
empty, or the same people with different clothes or in different places.

a montage of brief symbolic or typical
images
11. What techniques are used in this film to show time passing?
Within the basic narrative: changing light, as the sun comes up and goes down. The actual day is recorded
in the Truman bar, showing which day of the show it is. Some references in dialogue. Montage is used only
in the TV bio.
When Truman is missing from his basement, Simeon says he "moved down there after Meryl packed up and
left." This implies the passage of time – but it was that day that she left.
Film-makers may wish to show different things happening at the same time. The usual technique for doing this is
by cross-cutting. The editor cuts quickly from one scene to another and back again several times. It is a very
useful technique for building tension and suspense, or for contrasting images and/or ideas.
12. Can you identify examples of cross-cutting?
Mostly between the Lunar Room and what is happening in Truman's world: when Truman talks to the mirror
[1, 46]; when Truman is missing [52]; and when he is on the yacht [56-7]. Between Truman sitting on the
beach and his memory of the storm [10]. Most are in the second half of the film.
There is usually a state of equilibrium at the start of a film, a basic situation that is changed, usually permanently,
by the action of the story. This equilibrium will be disrupted by a specific event – the catalyst or inciting action
– that will introduce a complication into this state of affairs and so start the dramatic action.
13. Describe the state of equilibrium at the beginning of this film.
'The Truman Show' is coming up to its 30th anniversary of non-stop broadcasting, and makes a vast amount
of money for its powerful creator, Christof. Truman is married to Meryl and works as an insurance salesman;
they are talking about having a baby. The re-appearance of his father is the specific catalyst, though a
couple of technical glitches have roused Truman's suspicions about his world and his life.
The plot develops as the protagonist tries to deal with this complication. Suspense builds as each attempt to
solve the problem brings a reversal in fortune. The reversals gain momentum because they are usually of
greater magnitude each time they occur.
14. Look back at your list of obstacles. Is each obstacle greater than the one before? Explain.
There is a clear escalation in both obstacle and the methods used to keep Truman ignorant of the reality of
his life, and to keep him from escaping from it. From simple denial to being ejected bodily from buildings, the
level of obstruction increases till he is arrested, and finally to the life-threatening storm, that is a genuine
danger to him. Christof's manipulation of the situations becomes almost maniacal, as he orders the storm to
be escalated.
There will often be a central incident (coming about half way through the film), a mid-point scene, which packs a
dramatic punch and kicks the action to a higher level.
15. Can you identify the mid-point scene? How does it affect subsequent action?
Truman's confrontation with Meryl – he is at his lowest ebb here, after being arrested. This occurs at about
50 minutes into the film. This crisis quite early in terms of the plot – there is little left of it to tell – and in a
more conventionally structured film, this would signal the end of the second act. However, it is followed by
the emotional reunion with his father – a climax for the TV programme (and for Truman) – and then by about
10 minutes of back-story. The result of this arrest and thwarting of Truman's attempts to escape is his
realisation of the futility of trying to leave openly; he is forced to pretend to be happy and to tunnel his way
out.
Even stories that are told in a simple chronological structure will need to lay the foundations for future events, as
well as keep the audience involved and expectant by hinting at the future.
16. Identify examples where future events are 'signposted'
Truman's reluctance to go to work suggests his dissatisfaction with this life; his attempts to find Sylvia's
phone number; the red sweater in the bag. The photo-fit picture of Sylvia. The radio feedback that tells us
all the extras wear radio receivers.
The Chef's Pal is introduced in sc. 8 and used as a 'weapon' in 39 (what is called a 'loaded pistol').
The mishap of the localised shower [10] signposts their ability to send a storm to stop Truman's yacht.
The sailing: the storm that 'drowns' Kirk foreshadows the storm that will be sent to stop Truman, and also
prepares for his ability to sail the yacht to freedom. A yacht is moored next to the ferry [7] – though it has a
green sail.
Sylvia's insistence that Truman will escape Christof's benign prison.
A motif is an image, a word or phrase that is repeated several times. Motifs are often used to keep the film
unified, to link one scene with another. They may also be useful for thematic reasons, or be associated with
specific characters.
17. There are several significant motifs in this film; how many can you identify?
 dogs: Pluto the Dalmatian is part of his daily routine and then becomes a snarling tracker dog; the woman
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with the dachshund abandons it when she chases after Kirk; 'Dog Fancy' is a prominent product advertised.
Sirius the Dog Star. Young Truman is threatened by a savage guard dog on the bridge, hence Truman's
fear of Pluto.
eyes: mostly Sylvia's, but the first view of Truman is an ECU of his eyes. Truman and Sylvia 'meet' via
exchanged looks – at school and at the dance that follows, 'across a crowded room'.
Truman's collage of Sylvia – at work, in the basement (focus is on the selection of her eyes), on the boat
and her red jersey; with the pin message: "How's it going to end?" – in the basement, on the beach, in the
library
"Good afternoon, good evening and good night" – at the start, sc. 47, and Truman's exit line.
Fiji – Truman talks about it; he tries to call Sylvia there; he has a map of it in his chest, and hanging in the
basement; he tries to book a flight to Fiji. The irony is that Sylvia is not in Fiji but in Hollywood.
'Mococoa', one of Meryl's advertised products; Marlon's inevitable six-pack , the Elk rotary
several prison references – verbal and visual. Stripes are ubiquitous in Seahaven (metaphor for Truman's
'imprisonment'); the poster in Sylvia's room showing Truman behind bars; the Venetian blinds in his home
suggest prison bars, especially after he has been returned home after his attempt to escape. He is shown
trapped between his wife and mother [29].
 the man in the pinkish suit
 the moon – shining on the water, being the centre of operations, becoming a searchlight
Another way that film-makers will create unity is to show links between characters and situations by repeating or
echoing the same camera angles and shots (visual) and sometimes the same ideas or words and phrases
(verbal).
18. There are several visual links in the film. List specific examples.
 the WIDE EST. shots that start each day in Seahaven; the repeated Mozart rondo; Truman purchasing his
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newspaper and magazine – all help establish how routine his life is
the circling movement to which Truman draws Meryl's attention – "Round and round!" – starts with the
revolving door of his office building. The first time we see the door, he is reluctant to go in; next time, he
goes in and comes out again. A significant and symbolic moment, it marks the first real break with his
usual routine and will lead ultimately to his escape from the prison of Seahaven. It is repeated several
times – Truman drives his car round and round the roundabout, and then again a few moments later.
Ties in with the enclosed circle that is his world.
the dropped tray crashing on the operating room floor echoes the sound when the light falls from the sky –
both indications of the penny starting to drop
Truman touching the wall at the end echoes his tentative touching of the fallen light.
Both Sylvia and Christof touch Truman's image on screen – it is both poignant and ironic that the two
people who love Truman the most (in their different ways) can touch him only this way.
As Truman clings to the yacht, the man in the bath replicates his action with the shower curtain (comic
effect)
Sylvia looks up at the TV screen in the same way as she looked up at Truman in the library
Sylvia's stripes echo Truman's stripes (see above)
The crossed fingers in the wedding photo lead obviously to the "I'll cross my fingers for you" – and then
Truman peers after Meryl through a St Andrew's cross in the front door.
the whole of Seahaven is colour co-ordinated – the same few tones repeated endlessly
the red-lit TV screen image – links Truman with Christof, since both are shown on it.
fans shown wearing the same clothes, using the same china as in Seahaven
the two security guards eat pizza just as Simeon and his assistant share a pizza
a verbal link: at the start, TWIN: Beautiful day, isn't it? TRUMAN: Always. At the end: TWIN: Beautiful
day, isn't it? TRUMAN: Every single day. The first time he is unaware and sincere, the second he is
aware and sarcastic.
Answers to worksheets
Detailed Analysis: Opening Scenes
CROSSCUTS between direct address and 'live film' of Truman's fantasising to the mirror. Each new line
indicates a CUT.
INT. LUNAR ROOM
BCU Christof (Note
1)
We've become bored with watching actors give us phoney emotions. We're tired of pyrotechnics and
special effects. While the world he inhabits is in some respects counterfeit, there's nothing fake
about Truman himself. No scripts, no cue cards. It isn't always Shakespeare but it's genuine. It's a
life.
TV SCREEN
INT. TRUMAN'S BATHROOM
BCU eyes (2), (3)
pull back to MCU of
Truman looking in a
mirror (actually into
the mirror camera)
(4)
BLACK with S/T:
starring Truman
Burbank as himself
I'm not going to make it. You're
going to have to go on without me.
Music behind titles and Truman
throughout
Truman as before;
(5)
with S/T green
'LIVE'
No way, mister, you're going to the
top of this mountain... Broken legs
and all.
BLACK with S/T:
created by Christof
CU Christof
We find many viewers leave him on
all night for comfort. (6)
Truman, as before
You're crazy, you know that?
Truman as before
(8)
I'm not going to get to the top. All
right, promise me one thing
though: if I die before I reach the
summit, you will use me as an
alternative source of food.
Eeeewwww, gross.
Truman – a little
closer
Eat me, damn it. That's an order.
Maybe just my love handles. I
have love handles. Yeah – little
ones.
BLACK with S/T:
Hannah Gill as
Meryl
MCU Hannah Gill,
on the widow's walk
of the house in
Seahaven
Well, I mean, there is no – there is
no difference between a private life
and a public life. My life is my life,
is 'The Truman Show'. 'The
Truman Show' is... a lifestyle. It's a
noble life. It is... a truly blessed life.
(7)
BLACK with S/T:
Louis Coltrane as
Marlon
MCU Marlon
SHALLOW FOCUS
black with S/T: (10)
TV (and movie) title:
THE TRUMAN
SHOW
It's all true. It's all real. Nothing
here is fake. Nothing you see on
this show is fake. It's merely
controlled (9)
music swells and ends as
Truman says his next line.
BLACK with S/T:
He turns his head…
Meryl [O.C.] Truman! You're
going to be late! (11)
looks back at mirror.
He leaves the
bathroom, closing
the door behind him.
OK
Deep sigh
Slam //
AURAL BRIDGE: birds twitter
Day 10,909 (12)
Notes
1.
Abrupt direct address start – Christof speaks with wonderful sincerity and conviction, yet does not look us
directly in the eye; he does not connect with us. His words double as an introduction to the film about 'The
Truman Show' and the TV intro to the show itself. It is a strong, simple and powerful image – black against
grey, with the lunar texture behind him. His characteristic black clothes, wire-framed glasses, beret.
2.
Lines on screen indicate the picture is a TV / hidden camera image. Change of colour – pinkish = warm,
unlike the cold initial image. Truman wears striped pink pyjamas – introduces the stripes that are so obvious
throughout.
3.
Introduces the motif of 'eyes' that will be so significant. Immediately there is an irony that Truman's eyes are
not seeing the truth about his world and his life.
4.
Truman is 'framed' by the mirror edges (a double frame) and by the shape of the door behind, which creates
the effect of a portrait, emphasising the idea that he is on TV and that he is an object to be looked at
5.
The green 'LIVE' on screen tells us this is a live telecast.
6.
Eliminates immediately the awkward question of why people would want to watch a 24-hour non-stop
broadcast when the guy has got to sleep.
7.
Irony here – the reality of Hannah's life as Meryl's wife is shown to be not as idyllic as she implies. Her
supposed honest appraisal of her life is as false as everything else – this is an advert, part of the promotion
of the show and to justify and protect her job.
8.
Truman's fantasy of climbing a mountain and risking his life (to the point of cannibalism) reflects his clear
frustration with the routines and unchallenging life. A significant signpost.
9.
Is Marlon's expressed affection for and loyalty to his 'best friend' fake? Note the striped collar on his shirt.
10. The title of the film is also the title of the TV show. There are no real head credits for the film, only the TV
credits.
11. Only now we realise he has been talking into a camera in the mirror.
12. Day 10,909 makes Truman 29 years old, nearly 30 – as is mentioned during the film. NB '30 is a Dangerous
Age'
Scene 2
EXT. STREET – DAY
birds chirp
MS Truman comes out of his front door, closing the door // (1)
Good morning!
MS THREE: the 'perfect' family – a good-looking African-American
couple – the Washingtons – with a cute little girl. // (2)
Good morning! / Good morning!
MS Truman, ZOOM to MCU; vignetted corners // (3)
Oh! And in case I don't see ya' - good
afternoon, good evening, and good night!
laughs
MS Spencer, taking out his garbage // (4)
[O.S.] Yeah, yeah.
MLS Truman walks towards his car (parked in his drive) //
[O.S.] Morning Truman! Morning, Spencer!
LS from behind: the dog Pluto barks at Truman // (5)
Hey, Pluto.
L/A CU Truman // (6)
Pluto! No, no, no. Get down!
H/A Truman's POV of Pluto // (7)
[O.S.] He won't hurt you. /
MCU Spencer with his trashcan // (8)
T: [O.S.] Get down!
L/A Truman trying to evade Pluto //
I know. It's just me.
Spencer beckons //
C'mon, Pluto!
L/A LS Truman leaning against the car. Pluto patters away with a
bark. Truman exhales in relief, brushes himself down and opens the
car door. //
a studio light falls from the sky //
with a loud whine
AERIAL of Seahaven with the light falling past it // (9)
L/A CU Truman looks up //
scream
his POV of the light falling past houses //
WIDE of street, ELS Truman by the car, looks up; the light falls behind
him //
BCU light hits the ground and shatters // (10)
LS Truman turns quickly // (11)
CU as he looks at the sky; his POV //
Oh my …
Truman's POV of the broken light //
H/A WIDE as he runs onto the street to look at it //
What is it?
ELS between posts as Truman gingerly touches it, picks it up and
looks at it // (12)
BCU his POV of the words written on it: Sirius (9 Canis Major); he
turns and looks up into the sky // (13)
his POV street lamp //
bird song
Notes
1.
He is framed again – by the door and the columns around it, and the perfectly symmetrical fence in front and
beside. (creates a boat shape which may be a signpost; also suggests he is trapped). His jersey matches
the yellow architrave, his trousers the pale paintwork and his jacket the screens on either side. It is all too
perfect – emphasising the artificiality of the art-directed world he lives in. Any significance in no. 36?
2.
The Art Directed look is continued in their clothes: Mr Washington is dressed in a grey suit with a striped
silver-grey tie and a pink shirt – echoes Truman's pink in sc. 1. Mrs Washington is in green stripes and the
little girl in the red that will be the accent colour throughout the film.
3.
Truman's shirt is dark green with stripes and his tie dark with stripes.
4.
Spencer's shirt is the same yellow, plus a beige jacket and hat. That he is always seen with a garbage can
suggests a tired show – surely they can find him something else to do.
5.
See 'What's in a Name'. Truman seems afraid of Pluto – this fear is explained when young Truman is shown
being kept off the bridge by a savage dog. [44]
6.
The camera angle suggests there is a camera on the dog's collar
7.
This view is probably from the camera in Truman's ring.
8.
Note the camera on Spencer's rubbish bin, and on the white posts.
9.
This is our first real view of Seahaven. That the falling light is filmed indicates that we are not seeing just
what is shown on TV – it is extremely unlikely that mistake like this would be shown on TV, even suppose
they could cut t it in time – but a greater truth about Truman's life. Great shot and SFX.
10. Note the terracotta colour of the street paving. This is the red that is the dominant accent colour throughout.
11. An extra in the background doesn't react. Given the noise the light made, you would expect – in any normal
neighbourhood – people to come out of their houses to see what happened.
12. The light is clearly not hot since he is able to pick it up. His tentative touching of it has simply been from
uncertainty (or an allusion to 2001 a Space Odyssey. This may be the first bit of debris Truman has ever
seen in the street.) This is the first of several technical glitches that give rise to suspicions in Truman. So
many one after the other suggest that they are getting careless – or that things are starting to wear out.
13. Written on the light is Sirius 9 Canis Major. Sirius, a white dwarf star, is the brightest star on the sky, and is
part of the constellation Canis Major. Known colloquially as the Dog Star, it has more mythology attached to
it than any other star apart from the sun. Its fall is symbolic of the collapse of Truman's world, and at the
same time suggests Truman will in fact 'see the light'.
Scene 3 (1)
EXT. STREET – DAY
AERIAL WIDE of street – pedestrians, and
a solitary silver car – Truman's //
[V.O.] Here is a newsflash just in. An aircraft in trouble began shedding
parts as it flew over
MCU Truman, driving, smoothing his hair
as he listens to the car radio // (3)
Seahaven just a few moments ago. (2) Wow. Luckily no one was hurt.
But hey! How do you feel today?
Mmm-mmm. / That's good. You thinking of flying anywhere? / Nope. (4)
WIDE central town area, park, cars,
bicycles, bus
PULL BACK to show whole town centre
O-o-oh, good. This is Classical Clive with Classical Drive, so why don't
you forget about the perils of flying (5) and settle back and let this music
calm you down. [Mozart piano music: 'Rondo Alla Turca']
Notes
1.
2.
3.
4.
5.
Three long, unbroken shots
Instantaneous response to allay any suspicions Truman might have.
The mirror image radio station numbers on the screen indicate that he is being filmed by a camera in the
radio
Irony. It is not unusual for people to respond aloud to a radio – but here Truman's words elicit a genuine
response.
One of the many ways Truman is persuaded not to want to leave Seahaven.
Detailed Analysis: 'On the Bridge'
The emphasis here is on the editing: the cutting together of three realities – even four, since Seahaven is shown
directly and via the texturally coarser TV screen. Identify and record significant shots only. A new line or //
signifies a CUT.
Scene 40: EXT. UNFINISHED BRIDGE – NIGHT
ELS Truman and Marlon sit on the edge of the bridge. (music 'Living Waters' throughout) I don't know what to think,
Marlon. Maybe I'm losing my mind, but... it feels like the whole world revolves around me somehow.
CU Marlon: That's a lot of world for one man, Truman. Y'sure that's not wishful thinking?
CU Tuman / M: [O.S.] You wishing you'd made something more out of yourself?
CU Marlon: C'mon, Truman, who hasn't sat on the john and had an imaginary interview on 'Seahaven
Tonight'? Who hasn't wanted to be somebody?
CU Truman shakes his head: This is different. Everybody seems to be in on it.
CU Marlon // CU Truman / M: [O.S.] I've been your best friend since we were seven years old, Truman.
CU Marlon: Only way you and I ever made it through school was by cheating off each other's test papers.
// CU Truman
CU Marlon: Jesus, they were identical. But I always felt safe knowing that. Because whatever the answer
was, we were right together and we were… // CU Truman: …wrong together.
…
CU Marlon: You're the closest thing I ever had to a brother, Truman. // CU Truman
CU Marlon: I know that things haven't really worked out for either of us like we used to dream they would.
// CU Truman
CU Marlon: I know that feeling when it's like everything's slipping away, and you don't want to believe it,
so you look for answers somewhere else. // CU Truman // CU Marlon: But...
Seahaven
Lunar Room
[O.S.] But – well, the point is, I'd gladly walk in front of traffic for
you. PAN across watching faces (Chloe, Simeon) to CU
Christof
grainy TV screen: CU Marlon: The point is I would gladly step in front of
traffic…
… for you, Truman.
grainy TV screen: CU Truman
CU Christof: And the last thing I'd ever do is lie to you.
CU Marlon: And the last thing that I would ever do… is lie to you.
CU Truman, he looks at Marlon. [O.S.] I mean, think about it, Truman.
CU Marlon: If everybody's in on it, I'd have to be in on it, too.
CU Truman (it is dawning on him that Marlon IS in on it.)
CU Marlon, drinks some beer: I'm not in on it, Truman, because – there is no "it". // CU Truman, tiny nod
CU Marlon: You were right about one thing, though... // CU Truman: What is that?
CU Marlon: The thing that started all this.
He looks over his shoulder.
CU Truman; looks over his shoulder too // CU Marlon, nods // MLS Truman stands up into shot; Marlon joins him.
Yep.
Their POV: LS a man walks slowly towards them thorough the mist. [O.S.] I found him for you, Truman.
That's why I came by, tonight.
MCU TWO SHOT Marlon and Truman. M: I'm sure he's got quite a story to tell. (hand on Truman's
shoulder) Go to him. PAN and CLOSE on Truman's face.
his POV: his father walking slowly towards him

Great depths of complex emotion in this intense scene, shot in simple alternating close-ups. Truman loves
and trusts this man yet he knows his friend is betraying him. He has learned too much by now to believe
Marlon here.




the music behind the scene with its reiterated chime hints at the clock ticking on Truman's trust
whole scene till the end shot in CU and BCU – emphasises intimacy
Marlon is acting sincerity with great skill yet knows he is lying to probably his only real friend. But if he
doesn't, his job will disappear. His sincerity is the height of cynicism. Or does he really like Truman? Is he
perhaps like Meryl, only pretending affection? Louis Coltrane has been playing this part for 23 years (which
pales into insignificance beside William Roache, who has played Ken Barlow in Coronation Street since
1960). A scene in the shooting script which did not make the film has Marlon meet Truman as he is
escaping – and letting him escape.
Go to him. This is Christof's line – it sounds false and artificial coming from Marlon.
Scene 41
Seahaven
Lunar Room
CU Christof: Easy on the fog. (watches)
Stand by crane-cam. (points) Cranecam.
TV SCREEN: H/A LS Truman walks towards his father //
Viewers
CU TWO Christof and Simeon;
C: Button-cam 3.
L/A MCU Truman (in a circle – the
camera is in the button on his
'father')
TRUMAN BAR: INPOINT: hands
crossed and held, PAN UP to CU
TWO of barmaids watching //
CU Truman as before: I never
stopped believing.
SITTING ROOM: LS TWO: Two
elderly fans watch with delight and
satisfaction, hands close and held cf
barmaids
CU asst director, PAN up to Chloë;
Christof: [O.S.] And wide. Curb-cam 8.
LS TWO (blurred edges) 'Dad'
embraces Truman. My son.
MCU TWO Christof and Simeon:
S: Move in for a close-up? / No, no...
hold back... Fade up music.
Keyboard artist nods and plays; CLOSE
on pianist and sound tech
MCU TWO Simeon and Christof,
conducting;
And now go for the close-up!
TV screen: Truman hugs his father. Christof's fingers on the screen: All those years wasted. I'll make it up to you,
son…
[O.S.] … I swear.
BCU L/A Christof shares the emotion.
TV: BCU Truman's emotional face: Dad
BCU Christof – emotional and triumphant
CU Chloe claps. Yes.
TRUMAN BAR: CU TWO the
barmaids are thrilled
JAPANESE HOME: MCU THREE
delighted viewers clap and laugh
SITTING ROOM: the ladies hug
each other in delight
BCU TWO Christof hugs Simeon
CU Chloe claps. Bravo.
[O.S.] Television at its best.
Christof hugs Chloe. [O.S.]
Congratulations
Celebration continues.

Much of Truman's emotion at the reunion with his father is because he knows it is too late. He now knows
the truth and knows this is another charade. At the same time, this is the only father he has ever known.

OR is Truman playing the part he knows is expected of him?

the TV screen links all three: Seahaven, the Lunar Room and the viewers watching on their screens

Christof is like an orchestra conductor. He manipulates viewer responses by manipulating the dramatic
moment: holds the CU until the optimum instant; cues the music brought in to enhance the mood; all
increases the emotional power.

Weir gives away movie-making secrets as he exposes and mocks the way movies manipulate emotions
through use of shot size and music.

the elderly fans wear robes like Meryl's [11] and have Truman plates on wall as well as the cushion
And still – in, for example, a scene that reunites Truman with his long-absent father – the film reaches an
improbable emotional intensity. The two men hug; the folks in a bar cheer; Christof cues the swelling music
and crinkles with paternal pride; and the grand fakery of it all works its sorcery on the heart. In one scene you
get the truth in an actor's lie, the art in the oldest melodramatic tricks, the gotcha! of cinema's power to create
a simpler, more beautiful world on screen. This is pure moviemaking, naked and irresistible.
– Richard Corliss, Time
Scene 44 & 45: 'Trutalk'
Again, the emphasis here is on the editing together of several realities. Note that the voices heard when the speaker is not
seen are not technically voice-overs, since the speakers are part of the action, but nor are they really O.S. (out of shot) since
they are in another place from the picture being shown. O.C. (off camera) seems the best label. (NB not all the dialogue has
been included.)
dialogue
TV Studio / Lunar Room
… on pins and needless the entire
time
MLS TV host Mike
Michaelson introduces
'Trutalk'
'Truman Show' – F/B &
P/T
[O.C.] Hello and good evening… …
a rare exclusive interview with the
show's conceiver and creator. So,
come with us now as we go live
Viewers
man in bath //
H/A WIDE TRUMAN
BAR // a kitchen (1) - a
crying child is ignored //
[O.C.] to the Lunar Room on the 221st
floor of the Omni-Cam Ecosphere.
That's where we'll find the world's
greatest tele-visionary
CLOSE on the moon
over Seahaven (2) and
Christof
the designer and architect of the world
within a world that is Seahaven Island:
OVER SHOULDER his
POV of Seahaven
Christof. … this exclusive interview.
We know how demanding your
schedule is and we all know how
jealously you guard your privacy.
This, sir, is indeed an honour.
Don't mention it.
ELS Christof against
moonscape, TRACK him
to the bank of screens
and a large screen
showing Michaelson //
Christof on screen as he
sits at the bank of
screens (3)
Well, the catalyst for the recent
dramatic events on the show has
been, of course,
CU Michaelson on big
screen
[O.C.] Truman's father, Kirk, and his
attempts to infiltrate the show, but
before we get into that, I think it's
worth noting that this is not the first
time that someone from the outside
has attempted to reach Truman, is it?
C: We have had our close calls in the
past.
WIDE of Lunar Room with
screen and Christof //
WIDE with Christof on
screen // CU Christof
Child Truman opens
Xmas presents; a man
jumps out of a box,
shouting that he is "on
the Truman Show".
M: But there's never been anything to
compare with this most recent breach
of security
a parachutist wearing a
sign – "Truman you are
on TV" – lands in the
street.
the first intruder to be a former cast
member.
CU Michaelson
C: A dead one at that.
CU Christof, against the
lunar landscape
M: I gotta say, writing Kirk back in –
master stroke.
CU Michaelson
M: Since Kirk started this whole crisis
in Truman's life, I came to the
conclusion that he was the only one
who could end it.
CU Christof, against the
lunar landscape
Truman! Truman, no! That's off limits.
Why? What's over there?
Nothing. It's dangerous, that's all.
You've gotta know your limitations,
Truman.
[Sounds of pneumatic drills, power
saws etc]
beach (4): Kirk shouts //
Young Truman climbing
rocks // H/A WIDE Kirk
leaps the barbed wire //
L/A ELS little Truman on
the rocks // Kirk climbs /
circular view (Kirk's
button-cam) as he grabs
the boy
M [O.C.] But let's remind viewers of
Kirk carries him down –
exactly why dad was written out in the
first place.
everyone watching –
though he tries to see
over the rocks himself
(5)
C: [O.C.] As Truman grew up, we were
forced to manufacture ways to keep
him on the island.
WIDE seascape with
small boy and boat
I'd like to be an explorer. Like the
great Magellan.
Oh, you're too late. There's really
nothing left to explore.
MS Young Truman in
class // the teacher pulls
down a world map (6) //
disappointed Truman
(barking)
Circle view of a guard
dog (7) on bridge stops
young Truman going
any further /
[O.C.] Finally, I came up with the
concept of Kirk's drowning.
Truman backs away //
his POV of barking dog
M [O.C.] Most effective. Truman's
been terrified of water ever since.
Kirk 'drowning' //
L/A a desperate Truman
watches his father sink
(8)
C [O.C.] When Kirk read the synopsis
for the death at sea episode he was –
disappointed, to say the least.
Truman as before //
an angry Kirk with a
frogman in the water
And I'm sure that's what caused him to
break back onto the set.
Kirk hugging Truman on
the bridge
[O.C.] But, how do you intend to
explain his 22 year absence? /
Amnesia.
CU Christof, against the
lunar landscape
Brilliant
WIDE of Lunar Room CU
Michaelson
Let's take some of those viewer phone
calls. Charlotte, North Carolina.
You're on with Christof.
[O.C.] Hi, Christof, I was just
wondering how many cameras you got
there in that town.
C: Somewhere in the vicinity of five
thousand…. Remember, we started
with just one.
bank of TV screens – 12
images of Christof,
SLOW CLOSE on one:
CU Christof, against the
lunar landscape
[O.C.] He was curious from birth. (9)
Premature by two weeks, it was
almost as if he couldn't wait to get
started.
Intrauterine camera
shows a foetus
M [O.C.] And of course his eagerness
to leave his mother's womb was the
very reason he was the one who was
selected.
C [O.C.] In competition with five other
unwanted pregnancies, the casting of
the show, determined by an air date,
Truman was the one who arrived on
cue.
another view of the
foetus
tinkling of mobile
M [O.C.] Incidentally, I believe Truman
is the first child to have been legally
adopted by a corporation?
CU infant in a chair,
looking up PAN up to
the mobile with camera
in the middle (10) // CU
baby
PAN across babies in
cribs
naked toddler on the
beach, walks towards
the water
That is correct.
BCU Christof, tight within
red TV frame
The show has generated enormous
revenues now,
WIDE of Lunar Room, CU
Michaelson on big screen
equivalent to the gross national
product of a small country.
C: People forget it takes the
population of an entire country to keep
the show running.
BCU Christof, takes off
his glasses
Since the show is on twenty-four
hours a day without commercial
interruption, all those staggering
revenues are generated by product
placement.
CU Michaelson, over
Christof''s shoulder
That's true.
CU Christof
[O.C.] Everything on the show is for
sale, from the actors' wardrobes, food
products, to the very homes they live
in.
M: And of course all of it available in
the 'Truman Catalogue'. Operators
are standing by.
L/A CU woman in red
striped hat // black and
white bow tie // couple
eating breakfast (11) //
dolls' house
Christof, may I ask you,
WIDE, angled across
Lunar Room, CU
Michaelson on big screen
... why do you think that Truman has
never come close to discovering the
true nature of his world until now?
Christof on screen //
We accept the reality of the world with
which we're presented. It's as simple
as that.
CU Christof
CU TWO security
guards – one nods //
…
let's go to Hollywood,
California. You're on Trutalk.
CU Michaelson on big
screen
Sc. 45
[O.C.] Hi, Christof. I'd just like to say
one thing: you're a liar and a
manipulator
and what you've done to Truman is
sick / Well, we remember this voice,
don't we? How could we forget?
M [O.C.] Let's go to another call with…
C: No. No, no, no. It's fine, Mike. I
love to reminisce with former members
of the cast. Sylvia – as you
announced so melodramatically to the
world – do you think because you
batted your eyes at Truman once,
flirted with him, stole a few minutes of
air time to thrust yourself
SYLVIA'S ROOM: 'Say
No to the Truman Show'
/ she crosses close to
the camera
MS Christof, against the
lunar landscape; CLOSE
to CU
Truman PIP
MS Sylvia, with phone
(12); she walks behind
the TV showing Christof;
CLOSE on Christof.
She stands in front of
the screen so there is an
ECU shot of her, MCU
of Christof and a tiny MS
of Truman
and your politics into the limelight, that
you know him,
She crosses in front of a
'Free Truman' poster
(13)
that you know what's right for him?
Christof on her TV
She walks away from
the screen
You really think you're in a position to
judge him?
Christof on her TV leans
forward as if trying to
follow her
S: What right do you have to take a
baby and turn his life into some kind of
mockery? Don't you ever feel guilty?
C: I have given Truman a chance to
live a normal life. The world. The
place you live in is the sick place.
MLS Sylvia on phone //
Christof on her TV –
speaks quietly and
sincerely
Seahaven is the way the world should
be.
S [O.C.] He's not a performer.
He's a prisoner. Look at him. Look at
what you've done to him. / C [O.C.] He
can leave at any time.
MS Sylvia on phone //
If it was more than just a vague
ambition, if he was absolutely
determined to discover the truth,
there's no way we could prevent him. I
think what distresses you, really,
caller, is that ultimately, Truman
prefers his 'cell', as you call it.
S [O.C.] That's where you're wrong.
Christof on her TV
You're so wrong. And he'll prove you
wrong.
M [O.C.] Well, aside from
She turn off the phone,
still watching
heated comments from a very small
minority, it's been an overwhelmingly
positive experience.
C: Yes. For Truman and for the
viewing public.
her POV Christof on her
TV
… Well, Mike, the big news is that
Sylvia kneels before the
TV, looking up at it.
Meryl will be leaving Truman in an
upcoming episode, and a new
romantic interest will be introduced.
Her POV of Truman PIP,
CLOSE on it
I'm determined that television's first
on-air conception will still take place.
MCU Sylvia, she sits up
and puts her hand out
ECU her fingers touch
Truman on screen
M [O.C.] Well, another television
milestone straight ahead…
CU Sylvia //
man in bath – asleep //
(14)
Truman asleep on green
TV screen
MS Christof in front of a
huge green sleeping
Truman; he walks over
and strokes his face (15)
WIDE whole LUNAR
ROOM – mostly
deserted though pianist
plays on.
Notes
1.
The black and white spotted kitchen is in marked contrast with the stripes of Truman's world, though it
echoes both the dog, and one of Meryl's outfits. The black and white checks are a feature of Meryl's clothes;
note the Meryl doll. The sunflower shirt and tablecloth all link to Meryl also.
2.
Although we may have suspected that Seahaven was controlled from the moon, this is the first confirmation
of it. Note that Mike Michaelson and the screenplay call it the "Omni-cam" Ecosphere (all cameras) but the
building downtown where Truman tries to use the elevator says "Omnicom", as do the labels on the extras'
uniforms.
3.
Two images of Christof link him here to all the actors playing parts in Seahaven and the two-facedness of
their behaviour to Truman. And to mirrors – especially Truman at the start and the end. Christof is dressed
in black; with his high collar and touch of white at the neck he looks like a priest.
4.
Even the beach scene follows the colour patterns of the show: all umbrellas are striped, and are either brick
red, ochre yellow or dark green. Young Truman is all in red, Kirk has a dark green shirt
5.
"Why? What's over there?" This is early in the programme's life – the set probably isn't finished. The
sounds from over the rocks – pneumatic drill, saw etc – support this.
6.
It is even an old map of the world, with Australia, New Zealand and Canada all in the traditional pink of the
British Empire/Commonwealth.
7.
There is a camera in Young Truman's belt buckle. Red stripes again. This event suggests the origin of
Truman's obvious fear of dogs – he is uncomfortable with Pluto.
8.
There seems to be no sense in the minds of any of these people that treating a child like this is monstrous –
deliberately creating a phobia in him, and saddling him with the guilt of responsibility for his father's death,
9.
His curiosity is lauded yet the show has spent nearly 30 years suppressing and systematically squashing
that curiosity.
10. Bright colours here – blue, yellow, red, green – contrast with rest of his world. A brief time when he is just
like every other baby – or emphasising the betrayal of his trust? He seems to be looking at the camera – the
'spy in our midst'
11. He is wearing Truman's gardening clothes – even the hat (inside!); she is dressed like the viewer in the
kitchen.
12. Sylvia's room (red striped couch) and clothes echo Truman's – he is in his striped pyjamas, she is similar
stripes, cf. prison garb.
13. 'Free Truman Rally'; 'Abolish Media Manipulation'. Is Sylvia an activist after being on the show, or did she
get herself on to the show because she was already an activist? Good discussion question.
14. the bath curtains are the same as Truman's [46]
15. Christof touches Truman affectionately just as Sylvia does. The intimacy of this moment is in great contrast
to the scope of the world-wide coverage of Truman's life that has just shown and discussed.
Close Reading Answer Guide
Task Sheet 1: Chapter 1 – 8; scenes 1 – 28
1.
What is Truman doing the first time we see him? What does this tell us about him?
He is talking to himself in the mirror, pretending to be on a dangerous climbing expedition, which he is
unlikely to survive. Insists that he be used as a food source if necessary.
He is imaginative and inventive. He is also bored with his safe, secure life; he wants adventure and
excitement.
2.
Why is Truman unable to get Sylvia's phone number? [6]
Garland is not her real name, and she does not live in Fiji – that was a fiction to ensure Truman wouldn't try
to find her. She actually lives in Hollywood, as we learn later. And the directory service he calls for the
number isn't a real number but another part of the fiction that is Seahaven.
3.
How is Truman persuaded to take the job "across the bay"? Why does Lawrence insist that Truman
take this job?
He is threatened with losing his job. Christof is aware that Truman is starting to feel restless and so he
wants to remind him that he is unable to cross the water that surrounds the island. And the movie audience
needs to know early on why Truman seems content to stay when he is not really happy.
4.
Why is Truman shown working in the garden? What is the significance of the gnome? [8]
Another aspect of his daily life – he lives a conventional, clichéd suburban life. Plus it allows the humour of
his being filmed from an undignified position. His clothes share the colours of the garden gnome – a clear
indication that, like the gnome, he is trapped.
5.
Why does Truman want to go to Fiji? [9]
He thinks Sylvia has been taken to live in Fiji and he wants to see her again. Plus it represents the world
as far from Seahaven as you can go – an exotic, not fully explored place. It offers adventure.
6.
Why does the director decide to make it rain on Truman when he is sitting on the beach? [10]
It is not very interesting having him sit on the beach (although it allows time for a quick flashback, if it is
being broadcast); being rained on will send him home where Meryl is waiting in a sexy nightdress to take
him to bed. Christof wants them to have a baby.
7.
Why is Truman buying fashion magazines? [14]
He says it is for Meryl but he is looking for facial features like Sylvia's so he can create a picture of her.
8.
When Truman starts to chat to Lauren in the library, why does she not respond to his "Konichiwa'?
[20]
She is an actress – an extra – playing a part. She forgot she was supposed to be learning Japanese – she
would just have been given the books to carry. She even forgets her character's name – though this may
be because she is smitten with Truman.
9.
What does the button on Lauren's sweater suggest to us about her?
She does not approve of what has happened to Truman and thinks he should be told the truth.
We don't know how long she has been in the cast; we don't know whether she got the part with an agenda
already in place or whether she fell for Truman after being cast, and so decided to try to tell him the truth.
But the button slogan – as we see later – is that of the 'Free Truman' group, of which she is a part, if not the
leader.
10.
What are the words Truman calls out after Lauren? What is the significance of this?
"Sylvia! Hey!" He may not yet fully believe what she has said about his world, but he believes her when
she says her real name is Sylvia. Calling her by that name is an acknowledgement (perhaps only
subconscious) that she is telling the truth. (Though when he tries to find out her phone number, he asks
first for Lauren Garland.)
11.
What is actually in the elevator that he tries to enter?
The elevator doors hide a room set aside for refreshments for the extras in the cast. Table with a plate of
food, paper plates, big tea urn etc
12.
What is the purpose of opening the film with statements from Christof, Hannah Gill and Louis
Coltrane?
The movie audience is aware from the start that Truman is on TV and being watched, that his world is not
the real world. That Marlon and Meryl are actors playing parts.
13.
What things happen in these early scenes that gradually convince Truman that all is not well in his
world?
A light falls from the sky; rain falls only on him; his dead father reappears and is rushed away; the woman's
dog wanders lost; he realises his movements are being monitored; he bursts in on the green room; he
notices how small Mount Rushmore looks in the photo, and that Meryl has crossed her fingers in a wedding
picture.
14.
After the radio broadcast that makes Truman realise his movements are being monitored, he tests
his theory in several ways. What does he do and what do the reactions to his actions tell him? [2627]
He steps in front of a bus (accidentally) and then stops the traffic; he hits a painter outside the building from
which he is ejected; he claps his hands in the mini-market.
The vehicles stop but no one reacts in any other way. And this is not natural! The natural reaction would
be to shout at the idiot who steps in front of your car, to object to being hit by a passer by, to look round to
see who is clapping. No one reacts because they are not scripted to react. The extras are clearly under
strict instructions to do only what they are told; they have – or are allowed – no initiative. At this stage,
Truman has not yet realised just how big it is.
15.
How do we know that all the extras wear ear-pieces? Why is this important?
When the radio shrieks (with feedback), they all react with pain. This sets up the situation for later when
Christof feeds lines to Marlon, and for the search for Truman. It also makes it clear just how controlled
Truman's world is.
16.
In what ways is Truman subtly encouraged NOT to want to go beyond Seahaven?
A newspaper story says Seahaven is the best place in the world to live; Marlon, who has 'travelled', says
there is no place as good. Newspaper headline: 'Who Needs Europe?' His number plate: "Seahaven A
nice place to live." On the radio: "Forget about the perils of flying". He is reminded of his fear of water by
being sent across the bay.
17.
Identify at least five unusual camera angles. What is the purpose of using these angles?
Through his car radio [3]; from inside the newspaper kiosk [4]; keyhole camera [5]; from under his desk [9];
his bum in the air shot in his garden [8]. The distorted shots of the twins from the camera on the advert [5].
Many others.
18.
How does the camera work emphasise Truman's phobia about water? [7]
Low angle of a shadowed Truman against the sky // high angle LS of him from above as he looks down at
the submerged boat // his POV of the boat. The sound of the water lapping adds to the atmosphere of
dread, as do the hollow drumbeats.
19.
Is the first flashback (the drowning of Truman's father) being broadcast on 'The Truman Show'?
Explain why you think this? [10]
It hardly seems that it can be being broadcast, but the film does not indicate either way. Since the
flashback is cross-cut with Truman on the beach, it requires a precision of editing that would be virtually
impossible in the live action situation. It is too smooth to be done on the spot, always assuming the director
did have the film instantly available for inter-cutting. It is also more effective as a planted memory; Truman
and his dad went out, of course, but the boy plays into their hands by begging to continue in spite of the
bad weather. If he were told afterwards not to blame himself for having begged to keep going, he would
remember it that way. However, the shooting script says, 'Unlike a conventional flashback, the scene in his
memory appears to be playing on a television screen.' The 'drowning' was filmed; a clip from it is shown
later during 'Trutalk'.
20.
How do we know that the flashback of Truman and Sylvia is being broadcast on TV?
The TV screen, being watched by viewers in the Truman Bar, dissolves into the flashback while they watch.
The barman says later that these scenes are on the 'Greatest Hits' album, so they are clearly seeing them.
21.
How can a flashback be shown when the programme promises an uninterrupted film of Truman's
life?
In the later 'Trutalk', Truman is left on screen (PIP). He is not here. However, he will be being monitored
by the director as he sits in the basement with the red cardigan, remembering Sylvia, and the programme
reverts to him the second he moves or does something.
22.
The scene where Truman sees his 'father' is superbly choreographed – and improvised at the same
time. Explain the moves that prevent Truman's speaking to his 'father'. [14]
As soon as Truman speaks to him, his close 'minders' react. The woman with the dog and the man with the
paper grab Kirk and carry him away. A group of runners in yellow surround Truman so he has trouble
getting out of the bunch. He forces through – and nearly knocks over a man with papers; a bicycle crosses
his path and is knocked over. He reaches the bus where Kirk is being dragged up the steps; the door
closes in Truman's face. As Truman bangs on the door, the dog runs free behind him. He chases the bus,
but a cab comes through the arches and blocks his way, followed by another bicycle and another car.
Research
1.
What is the name written on the theatre light that falls? What does it mean?
"Sirius 9 Canis Major." Sirius, a white dwarf star, is the brightest star in the sky, and is part of the
constellation Canis Major (Big Dog). Known colloquially as the Dog Star, Sirius has more mythology
attached to it than any other star apart from the sun. Sirius was revered by the ancient Egyptians as the
Nile Star, or Star of Isis. Its annual appearance just before dawn at the summer solstice, June 21, heralded
the coming rise of the Nile, upon which Egyptian agriculture depended. In ancient Greek times the dawn
rising of Sirius marked the hottest part of summer; this is the origin of the phrase 'dog days of summer'.
The association of Sirius as a celestial dog has been consistent throughout the classical world; even in
remote China, the star was identified as a heavenly wolf. In ancient Chaldea (present day Iraq) the star
was known as the 'Dog Star that Leads,' or it was called the 'Star of the Dog'. In Assyria, it was said to be
the 'Dog of the Sun'. In still older Akkadia, it was named the 'Dog Star of the Sun'.
An in-joke for the technicians and electricians, and at the same time a link with the dog motif.
2.
Truman offers the twins a "Doppelgänger Special". What does this mean?
A doppelgänger is the ghostly double or ghostly counterpart of a living person. In the vernacular, it has
come to refer (as in German) to any double or look-alike of a person.
3.
What is the Latin motto on the arches in Seahaven? What does it mean?
'Unum pro omnibus; omnes pro unum': One for all; all for one.
4.
Truman says of Fiji, "Can't get any further away before you start coming back." Is he right?
[Seahaven is probably supposed to be in or near Florida, where the actual town of Seaside is, though the
soundstage is in Hollywood.] Actually, no. If Seahaven is in Florida, then the furthest away point is in the
middle of Australia. If it is in Hollywood, then the middle of the Indian Ocean is furthest away. But he's not
far out.
Discuss

How realistic is it that Truman's father could suddenly re-appear in Seahaven – and "dressed like a homeless
man"?
Task Sheet 2: Chapter 9 – 17; scenes 29 – 49
1.
Why is Mt Rushmore so small in the photograph? [29]
It is of course not the real place but a fake. Truman "slept all the way there" probably because he was
drugged.
2.
Why does it bother Truman when he sees that Meryl has crossed fingers in the wedding
photograph?
It is an old (children's) idea that if you cross your fingers when you are making a promise, you are exempt
from having to keep it. It provides a visual metaphor of the fact that Truman and Meryl would presumably
have been married by an actor and so the marriage would not be valid outside Seahaven, any more than his
bank card would work outside.
3.
Why does Truman ask to speak to Meryl outside? [30]
At this stage he knows he is being followed and so thinks the house might be bugged. He is not yet aware
of just how big the conspiracy is.
4.
Why does Meryl tell him there was an elevator disaster? Why an "elevator disaster"?
She needs an excuse to avoid the tête à tête. The disaster story attempts to cover for what Truman saw
when he blundered into the elevator in the Omnicom building next to where he works.
5.
When Truman cycles after Meryl, the streets are empty. Why?
He has taken the technical crew by surprise again – which is why he takes the bike and not the car. By
breaking from his normal routine, he has not given them time to get extras in position.
6.
Why does he follow Meryl to the hospital?
To see if she really goes there. To see if she really is a nurse. To see if there really is an operation taking
place. To see what happens when he breaks from his normal routine.
7.
How does the travel agency try to deter Truman from wanting to leave? [32]
Posters warning travellers of terrorists and lightning strikes try to make both travelling and the destinations
sound too dangerous.
8.
When the travel agent comes in, she has a white 'bib' tucked into her dress. Why?
Truman has clearly arrived there quite suddenly and unpredictably, so an actor had to be found quickly to
staff the travel agency. The bib is from make-up – to protect her costume – and she has come on set in
such a hurry she forgot to take it off.
9.
The bus driver is clearly having trouble with the bus. Why? [33]
He is an actor, not a bus driver; he has probably never driven a bus. Signpost for when no one can drive a
boat either.
10. The passengers all seem rather strange. In what way, and why?
They are very silent, and stiff. They all face the front rigidly and when they are told the bus has mechanical
trouble, they just get up and file out. There is none of the natural behaviour of people getting on a bus for a
long trip, none of the natural grumblings and protests that accompany disrupted plans. Truman was not
expected to take a bus so there has been no time to rehearse the extras in how they should behave –
though you would think that if they are professional actors, they would be able to improvise better than this.
11. Quote two or three of the things Truman says to Meryl that indicate he has a pretty good idea of
what is going on. [36]
Blocked at every turn. Beautifully synchronised, don't you agree?
When Meryl says, "You're blaming me for the traffic?" he replies, "Should I?" The first hint that he is coming
to realise she is part of "it".
Look, Meryl! Same road, no cars. It's magic!
12. What does Meryl say that is similar to what Christof will say to Truman just before he leaves
Seahaven?
Let's go home where you'll feel safe. Christof says to him at the end, But in my world, you have nothing to
fear.
13. What does Truman say to Meryl that suggests he is still not aware of just how big this whole thing
is? [38]
I have my Seahaven bank card. He thinks Seahaven is part of the real world – OR maybe he does know it
now and is being sarcastic.
14. What makes Truman suddenly run away?
One of the policemen addresses him by name, though there is no reason for any of these people to know
who he is.
15. Hannah Gill (Meryl) steps out of character twice. Explain. Why does she do this? [39]
She panics when Truman grabs the Chef's Pal from her, and shouts at the camera, "Do something!" This
enrages Truman even more so she is truly frightened; when Marlon arrives, she runs to him for comfort,
sobbing: How can anyone expect me to carry on under these conditions? It's unprofessional! This is the
last we see of her.
16. Marlon repeats Christof's words to Truman in the hope of reassuring him that all is well. What is the
effect on Truman of this? [40]
Though Truman loves – and has trusted – his best friend, he now knows that his friend is betraying him.
That Marlon is part of "it". He has learned too much by now to believe Marlon here, so the effect is the
realisation that he is on his own. There is no one he can trust. The grief in his face is at the awareness of
betrayal.
17. Christof and Sylvia are probably the two people who really love Truman. How does the film make
this clear?
Both are shown touching Truman's image on screen. Both want what's best for him – though they differ in
what they want – whereas every other character seems more motivated by what's best for themselves.
18. Find examples of the following techniques and comment on the effect of each. Do not include
examples from any scenes you will be analysing in detail. [There will be many examples other than these.]
a. INPOINT
baby photo [29]
Jumps us straight from Truman's assertion that he is going away
to where he is trapped with his past and present.
travel danger poster [32]
locates him immediately in a travel agency and at the same time
humorously adds another of the ubiquitous methods of keeping
Truman at home.
from travel poster to Truman
standing at the counter [32]
explicitly links him with the poster – see above
from the nuclear power station
sign to the crisis scene [38]
explicitly links the setting and the scene of chaos
Truman's car driving round the
traffic island [36]
provides a visual image of the 'round and round' that Truman used
earlier to explain the extras on the loop.
the bridge with the car stopped
at the beginning [36]
visual image of car and bridge from above has much more impact
than at eye level; we see the boundary that holds Truman
Sylvia watching TV / the screen
montage [42 / 43]
the TV V.O. links the two scenes
piano music, 45 / 46
smooth transition to the next day
e. BCU
baby Truman
babies are cute; reminder that the abuse of Truman's trust began
when he was at his most vulnerable
f. WIDE EST.
whole town [30, 46]
each day starts with the same establishing shot
g. LOW
ANGLE
of Truman in his car, via the
car-cam [43]
L/A normally shows power and dominance – here it simply
illustrates the way Truman is spied on from every angle
h. CUT-AWAY
to the Japanese family
watching him on TV [47]
reminds us of TV viewers – and that the audience is international
i. HIGH
ANGLE
Truman and Meryl fighting [39]
use of H/A draws attention to the way she looks up at the camera
to beg for help from Truman
Truman in the bathroom [46]
he seems to be vulnerable – but the sudden switch to the on-air
b. PAN
c. AERIAL
shot
d. AURAL
BRIDGE
view soon shows he is finally in charge of himself
j. PULL BACK
from the wall of the dome to
show the full size of it [43]
stunning shot to illustrate the size of the dome – starting with the
human proportion for comparison
Discuss:
Christof says: We accept the reality of the world with which we're presented. It's as simple as that.
 Do you agree?
Task Sheet 3: Chapter 18 – 23; scenes 50 – 60
1.
Why has Christof arrived in the studio in his pyjamas?
He clearly lives in the dome – so perhaps he has no other life. Or perhaps he has a feeling that something
is wrong. Maybe the spate of snafus has made him realise that the technicians are getting sloppy.
2.
Like Meryl earlier, Marlon steps out of character. When and why? Why is this important?
He pokes out of the hole in the lawn like a gopher and says to Christof, "He's gone." He (like Meryl before,
but more obviously) has broken the 'fourth wall' between performer and viewer, and shattered the myth that
this world is real.
3.
How would Truman have been able to climb out and go through the streets without being seen?
Because the directors think he is asleep, they wouldn't be monitoring other cameras – probably wouldn't
even have them on. The other houses in the town are likely to be empty, though one would assume some
cast would live in them, just so they can get to work on time.
4.
Christof says, "That's our hero shot." What does he mean?
The 'Hero Shot' – also called a 'Money Shot' – is the image, the picture, that stands out as special, that
summarises the emotion and character of an event better than others. Truman on the yacht sailing to
freedom is an iconic image. More importantly, 'hero shot' is just a film-making term and has no relationship
to real emotions.
5.
What is the significance of Chloë's warning to Christof when he orders the storm?
She reminds him that there is no rescue boat – as there was when Kirk 'drowned' – so Truman would be in
real danger of drowning.
6.
Quote Truman's words to Christof that assert he is not public property.
You never had a camera in my head. [59]
7.
How are Christof and Sylvia contrasted in these final scenes? Are they similar in any way?
Christof is powerful, Sylvia powerless. They are both care about Truman in their own way – but whereas
Christof wants him to stay, Sylvia wants him to leave.
8.
Twice – when Truman first hits the wall and then while Christof is talking to him – director Peter Weir
films Truman with his back to the camera. Why do you think he does this?
Truman has lived his whole life in front of a camera. Every moment – every emotion – has been seen by a
camera. The things that most of us prefer to keep private have been public. The only way Truman can be
private is to turn his back to the cameras, to not allow the camera to record and transmit these emotional
moments. Jim Carrey manages to give us both Truman's search for his first moments of privacy and at the
same time to communicate the powerful emotions Truman is feeling all through his body language.
9.
What is the significance of the final exchange between the two security guards?
They have been so obsessed with the show that they have neglected their jobs for it, yet are quite casual in
their search for another programme to watch. It is not 'The Truman Show' as such that controls their lives
but television and the media generally. The liberation of Truman has not liberated them.
10. Comment on the use of SHALLOW FOCUS in scene 55.
It separates Christof from his immediate environment, suggesting how hard he is thinking, how isolated he is
from the others. He is engrossed in the space he occupies with Truman.

Discuss: How has Truman suddenly been able to overcome his fear of water?
The film as a whole
1.
What product placements did you notice?
'Dog Fancy' [4, 14]; Kaiser Chickens [5]; Chef's Pal [8]; beer [9, 39]; children's book [11]; Elk mower [16,
49]; Goodies [26]; Mococoa [39, 42] Carlton Homes [47] As well, Truman drives a Ford Taurus, the city's
taxicabs are the same make; Marlon drives a Ford Ranger pickup – a real brand, like Carlton, but unlike
the others.
2.
Although the film is more drama than comedy, there are many examples of humour. Identify the
ones that you liked best.
Opinions on what is humorous will differ, but may include:
 Truman's monologues to the mirror; his ritual 'good morning'
 the rain that falls on Truman and follows him
 the gobo effect through the pencil sharpener-cam [48]
 the anti-travel posters
 Truman in the hospital corridor, dodging obstacles [31]
 Marlon's poking his head out of the lawn [52]
 young Truman being told he is "too late" to be an explorer
 the moon suddenly turning into a searchlight [53]
 the obvious product placements
3.
The main ways editors will move from shot to shot (transitions) are by CUTS, DISSOLVES or
FADES. Which technique is mostly used in this film? Suggest a reason for this.
Almost all transitions are cuts. This is because dissolves are only possible in the editing room, but 'The
Truman Show' is shown "live and unedited". Directors can switch from camera to camera, which is
effectively a cut. The only fades are the fade in that starts each day as the sun comes up. The only
dissolves are when the flashback is introduced – to make it clear that it is a flashback (it would be prepared
in advance for the appropriate moment) – and during the montage of Truman's life.
4.
Director Peter Weir says that there are few TRACKING shots used. Explain why this would be.
Tracking shots follow a moving figure. Most of the cameras in Seahaven are permanent and so can't move
with Truman. Cameras on people can move, but the actor would need to walk backwards to film Truman
from the front while he is walking. Those walking beside him would need to be quite close and so risk
discovery – so seldom used.
5.
How does Peter Weir use the camera to differentiate between Seahaven and the real world of the
film-makers and viewers?
One of the conventions of film and film-making is that we are not aware of the camera (though many postmodern films will deliberately break the 'fourth wall'). This convention is used in the filming of 'The Truman
Show' production crew and its television audience to give the feeling that we are watching a ‘real’ world.
To convey the idea that Truman is being filmed under surveillance, Weir used a variety of techniques:
 flat images in unshadowed primary colours;wide angle lenses and unusual camera angles
 characters often lean towards the camera (as in TV adverts) as they promote their particular product
 shooting through oval or circular ‘masks’ (vignetting) to create the impression of hidden cameras built
into the set
 special ‘cameras’ hidden in more mobile and surprising places (in Truman's ring, in Meryl’s necklace, the
dog's collar, Truman's car radio and pencil sharpener; in buoys in case Truman should ever venture
offshore).
Some of the buildings in the town were adapted to include miniature hidden cameras. The elegant piece of
sculpture near the entrance of the insurance building, where Truman works, was specially designed so that
not only could it house a camera, but also act as a sentry for the nerve centre of production for the ‘The
Truman Show’.
6.
How many different modes (types) of media are used in the film? Give specifics.
 television: 'The Truman Show' is a long-running programme: fans, and Sylvia, are shown watching him



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on TV
TV within that – Truman is shown watching TV, no doubt a film made especially for him
hidden cameras record everything he does, even an intrauterine camera
photographs of the past: baby pics, clown photo etc
the television interviewer in another studio, and questions via phone
Christof's (and other directors') radio control of actors and extras; Marlon is fed his lines
radio – in his car, which responds to him and what he is doing
posters, adverts, newspapers – all faked; protest placards and banners, even on a parachutist
7.
Comment on the way MONTAGE is used in the film.
8.
A 70-second montage is used as the introduction to 'Trutalk', which serves as a useful potted history of
Truman's life for the film audience as well as for the TV viewers within the film. After Truman walks out, a
montage of viewer reactions sums up the external response to the show, and neatly ties up the threads.
Montage is not a significant feature since it is an editing device and the very 'live' nature of 'The Truman
Show' precludes editing.
Can you identify any significant use of sound effects?
Because this is the film of an essentially domestic situation, sound is generally conventional and mostly
dialogue. The radio problem and the subsequent feedback that the actors all experience, and Christof's
feeding lines to Marlon on the bridge are the only two interesting sound effects. The birds that greet each
day sound artificial; the storm sounds are pretty convincing. Music is used to great effect.
9.
There are a number of examples of dramatic licence in the film. Give details. Do they matter?
Mostly to do with time. Meryl is going to be replaced – and suddenly she has gone and a new 'love interest'
is introduced. This happens overnight, which is rather too quickly. There has been no time to audition
actresses prepared to get pregnant by Truman – unless Vivien was an 'understudy' and has been on
standby.
Simeon says Truman has been sleeping in the basement since Meryl left – but that was the same day. Nor
would Truman have time to dig the tunnel and escape in the boat in the brief time allowed.
After Truman nearly drowns, his clothes seem to be dry very quickly.
Why would the directors not instruct the extras on the 'loop' to vary their actions after Truman predicts them
to Meryl? Just not paying attention?
Is it believable the fiction could be sustained for 30 years? The children Truman grew up with – were they
all child actors, in on the secret, or did they believe this was real life as Truman did? It is hard to accept
that, if the first scenario is true, not one of them gave it away. Truman seems to have one friend only –
most people have a circle of friends. Of course, we see only the last five days of his life here.
Details like this are usually not noticed when watching a film or play (as Shakespeare well knew, since he
often telescopes time in this way in his plays). As well, all film viewing requires some suspension of
disbelief.
10.
Give evidence to suggest that after nearly 30 years, the show is beginning to get careless.
The technical mistakes: the falling light, the rain, the radio mix-up.
Some other aspects are sloppy: the traffic on a loop; Spencer always and only shown with rubbish bins; the
clumsiness of product placement; extras should be more natural – they are stiff and awkward on the bus
and tend to panic a bit when Truman takes them by surprise.
Discussion topics

Wouldn't it be easy to keep Truman in Seahaven if he had grown up thinking that it was all there was
to the world – that there was nothing outside?
It would – but Christof would not have been allowed to do this. Truman was legally adopted by the
company that makes the show, and one of the conditions of the adoption would have been that he would be
educated properly.

Did Sylvia get herself on to 'The Truman Show' to warn Truman, or did she become an activist
afterwards?
The film is not clear about this. Lauren says to Truman in the library that she is not supposed to speak to
him; she is removed from the dance and presumably from under the tree after he keeps looking and smiling
at her, so she is clearly not part of the master plan in spite of her prestigious name (Lauren Bacall and Judy
Garland). Both Marlon and Meryl try to distract Truman from Lauren; Meryl looks daggers at her at the
dance.
Yet she is left on the show long enough to meet Truman in the library – presumably some days later, since
the dance wouldn't be so close to finals – and go onto the beach. Maybe she promised not to speak to him.
Her button suggests she came on to the show with an agenda, but her behaviour suggests she cares about
him. She doesn't attempt to tell the truth to him until after the kiss, implying that it was a sudden decision
based on genuine feeling. The button may have been a late addition – after she had seen him and liked
him. (Love at first sight?) She is not wearing it in her first scene. (The published shooting script has a note
by Andrew Niccol to the effect that 'Christof took the show's biggest gamble when he took so long to
intervene. He later released a statement explaining that he wanted to reward Truman's boldness, but
sources in the production claim that Christof realised it had been a major miscalculation.')

Christof says to Sylvia, "I have given Truman a chance to lead a normal life." Has he?
It depends on what he means by normal. Since Truman doesn't know he is being watched every moment
of the day, the sense of surveillance won't affect him that way it might affect people who know. But it can
hardly be called normal to have every person in your life someone whose livelihood depends on the TV
ratings gained by emotional highs in your life. How normal is it to live a life where you are the only one who
is real and has real feelings?
Truman is treated by these people – and the viewing public – much the way we treat pets. We love them,
take care of them, groom and maintain them, possibly find a mate for them, but the last thing we want for
our pets is their freedom. Truman is loved, taken care of, maintained physically, allowed to have a wife, but
has no freedom. He can't be allowed to leave since that would cost all the people whose livelihood
depends on him their way of life.
How normal is it to deliberately create phobias in a child? This can only be seen as harmful to that child, in
spite of Christof asserting that Truman's world is entirely safe.

He says also, "The place you live in is the sick place. Seahaven is the way the world should be."
Christof thinks the world would be a better place without crime, dirt, litter, violence etc. Probably. But he
has also banished from his 'paradise' genuine emotion (except Truman's), sexual expression (there are dog
and fashion magazines but no sex ones, and Truman is denied his first love), individual freedom
(everybody fits gender stereotypes) as well as creativity, spontaneity, and anything that might create
tension of any sort and prevent the bland, happy existence he thinks is 'the way the world should be'.
Young Truman's natural curiosity and sense of adventure are systematically suppressed.
The world of Seahaven is based on a mythical idea of 1950s society, which bears little resemblance to the
real period (which is when movies such as Rebel Without a Cause were made). The real '50s had
problems like the Bomb, the McCarthy witch-hunt, blatant racism, drugs, crime and gangs such as Hells
Angels. Just like today, really. But Seahaven has no down-and-outs, no homeless. Truman's mother
reinforces this attitude when she says, "Why do we want Seahaven to be like the rest of the world?"
Seahaven is a place where real problems don't occur.

Does the viewing public really care about Truman?
The viewers are represented by several groups: the patrons of the Truman Bar, and particularly the two
barmaids; the two security guards at the car park; the elderly sisters/friends; a man in a bath; a Japanese
family (representing the rest of the world), and a mother and children.
The film suggests that they do care about him up to a point, but probably close their eyes to just how
manipulated his world is. It is well known that many people believe the characters in soap operas are real
and that their actions are real. The barmaid explains that Truman could not follow Sylvia because his
mother got sick; since they all know she is an actress, they must know it was an invented scene but it is
treated as real. They all watch desperately as Truman battles the storm, but though they reached for the
phones when transmission was cut, no-one phones to complain at the real risk to Truman's life. They seem
elated that he comes through safely and leaves the show – but the final words make it clear that this is just
a way of passing time and maybe being distracted from their lives.
In fact, his devoted audience doesn't care any more for Truman than they do for any other celebrity. Did
they question the ethics of what happened in 'The Truman Show', of how Truman was manipulated and
treated? Of course not. The audience is no more innocent than Christof. They buy into the manipulation
of Truman just as people today purchase the photos of Princess Diana before and after her death.
Design and Setting
The setting for a film is more than just the place where the events of the plot happen. More than when we read a
novel, we are affected by the visual environment we are shown, which indicates instantly whether the setting is
naturalistic or fantastic, realistic or imaginary.
Designing a Film
The Production Designer and the Art Director work very closely with the director to create a convincing world on screen.
Even if the story is set in a real place, and in the present, decisions must be made about what sorts of clothes, houses,
furniture, vehicles and other props are to be used. One of the important decisions made is about the time setting of a film.
Even if the story is contemporary, the director may wish to avoid extremes of fashion so that the film will still look contemporary
20 or 30 years in the future.
The Set Decorator (or dresser) is responsible for providing the detail of a set, whether it has been built specifically for the
film or rented: the pictures on the wall, the books or ornaments on a shelf, the wallpaper and style of curtains. Clothes and the
décor of rooms can be a quick and useful way of giving information about characters, about their style of life and their
personalities, just as the objects that you value - your favourite clothes, treasures, photos, souvenirs - tell an outsider
something about you. Objects can be as important as people in a film, and can develop an overwhelming sense of presence.
The way they are lit and photographed can contribute to this.
The job of an art director varies from country to country and from project to project, but basically, the art director interprets
the director's ideas for the look of each shot. This involves negotiation with producer (who is in control of the finance) and the
director.
Smaller productions may have only a production designer or an art director. Larger productions, particularly American
ones, will have both. In America, the art director is really only the set designer, creating technical drawings to interpret the
director's ideas, with the production designer having overall control. A big budget film will have a large Art team. Mission
Impossible II, for example, had a Supervising Art Director and three Art Directors, each of whom had an Assistant Art Director.
There were more than 50 people in the art department, and up to 200 carpenters to build what was designed. Spider-Man had
a Production Designer, four Art Directors, two Set Decorators and an Art Department of 42. American Beauty was a medium
budget production, with an art department of 29.
The Truman Show had both a Production Designer and an Art Director, and an art department of 37, with another 72
people working on special and visual effects.
Directors will often create storyboards which go to the production designer, who uses models, sketches, magazine
pictures etc to help the off-set art director create the effect that is wanted. The off-set director works at a design table, drawing
the designs that then go to carpenters who build the set. The on-set art director, after the director and cinematographer have
decided on the framing of each shot, 'tweaks' it to make sure that it looks as good as possible, that the desired effect is
achieved.
Remember that discussions of setting should not be confined to just time and place, but should include social attitudes and
values, and perhaps also mood and atmosphere.

Answer these questions about the film as a whole. (Your answers should come from the film itself and
not from any background material you may have read.)
1.
Which of the descriptors in the first paragraph best apply to this film?
The 'real world' outside Seahaven is realistic.
Seahaven has a heightened realism – a very stylised look. It is too perfect, too bright, too neat, no shadows.
The sun nearly always shines. Colours are co-ordinated.
2.
What is the setting in time? Cite evidence. Do you notice anything that seems to belong in the past?
Some time in the very near future – maybe even contemporary. The clothes of the production team are
contemporary; the huge dome built in Hollywood, and the technology to create 'The Truman Show', are
possible now. Although the film was made before the hideous avalanche of 'reality TV', its advent has closed
the gap between the time setting of the film and our own time.
'The Truman Show' has been broadcasting for 10,909 days – nearly 30 years – without a break. Reality
television and the video invasion of privacy are accepted social facts. People are shown to live their lives
vicariously, without lasting emotional involvements. Ratings are placed ahead of privacy, even individuality.
Seahaven is locked in a 1950s time set. Christof has created this world to be the way "the world ought to be"
and so has recreated the mythical ideal age of the fifties. (No matter that the real fifties weren't like that; this
is how the media and especially television portray them. See Pleasantville, also released in 1998, for a
debunking of the myth of the idyllic 50s, or Far From Heaven, 2002).
Fashions and social attitudes and values (see below) help establish this time setting. Truman has LPs but
seems to have no CDs or videos. (The film was made before the arrival of the DVD, and before the
widespread use of cell-phones.) However, cars are reasonably modern, and Seahaven has computers, so it
is not locked in a pre-technological time – which would probably make it difficult to sell products if they were
seen as too old-fashioned.
Peter Weir: “I always thought of the film as taking place 20 years or so in the future, and that Christof the
show’s creator would hove created an idealised environment for Seahaven based on elements from the past
that he particularly admired.”
3.
There are two main settings in place for the film, and several minor ones. What are the two main
geographical settings? What features of setting ensures that these two settings are sharply
differentiated?
The island town of Seahaven – the streets, town centre and beach – and the Lunar Room. Both are
enclosed environments.
The cheerful community of Seahaven is an island ‘paradise’ where the sun nearly always shines [Beautiful
day, isn't it? / Truman: Always.] and no litter or other unpleasantness mars the perfection. Clean, pretty, not
over-crowded, people always polite and friendly.
The town is in fact built on an enormous sound stage, designed by Christof to keep Truman from the outside
world. Surrounded by sea, with one bridge connecting it to a mainland consisting of forest and a nuclear
power plant, it is in fact a benign prison. The tightly controlled and choreographed community consists
entirely of actors and extras dedicated to sustaining the artificial reality of Truman’s social and physical world.
It is as controlled as a ‘film set’ – which is what it is. Storms are manufactured only when a crisis or challenge
is required by the script.
The Lunar Room is heavy with technology – banks of TV screens, sound boards etc. The light is more
subdued. It functions day and night and controls Seahaven.
There is an artificiality to the Seahaven sequences: bright unshadowed light, pastel colours, colour coordinated costumes. The Lunar Room is filmed conventionally with lower light levels.
See also p. 46
4.
Comment on the social aspects of the main settings and how it affects the characters.
Seahaven tries to replicate an idea of the idyllic fifties of small town America (that myth extolled by politicians
with only a tenuous grasp of historical reality), with its 'small town values'.
Truman is an insurance agent, who lives with his wife in his own home, surrounded by consumer goodies – a
stereotypical middle class way of life. They as yet have no children but Meryl says they are planning to have
a baby. His best buddy Marlon says Truman is lucky to have a 'desk job' – another very dated concept.
We see little of the wider community – because there isn't one – but what we see suggests a conformist and
bland society, stuck in 1950s gender stereotypes. The only other family shown is the neat and tidy
Washingtons – handsome father, pretty mother in a hat, and adorable little girl. Pressure is put on Truman
from his wife and mother to have a child – to settle to domesticity rather than to explore the world.
Truman is expected to be reliable, dependable, accept everything at face value, and be satisfied with a
small-town existence. Not to question or doubt. He has his choices controlled and seriously reduced by the
manipulations of Christof, seen most clearly in the choice of wife for him. Meryl has been chosen and so
Lauren, whom he likes, is removed forcibly.
No-one in Seahaven will help Truman find the truth about his artificial existence, not even his ‘father’ who
breaks back onto the show because he has not been successful outside it. Having been disposed of once,
he is happy to be manipulated for ratings gains. Everyone else in Seahaven works to preserve the illusion of
reality for Truman (and so keep their jobs).
Marlon and Meryl are just as trapped by their need to be convincing in their roles; the roles they play force
them to be hypocritical and deceitful. Their lives are even more unreal than Truman's, since he at least
believes his life is real. Marlon, who obviously genuinely cares about Truman, has to lie to him and pretend a
sincerity he betrays as he speaks; Meryl who clearly does not like Truman much has to pretend to be the
devoted wife. They at least have the choice of leaving.
It is from the Lunar Room that the values implicit in Seahaven are directed and manipulated. Christof seems
to have no idea that what he has done to Truman is "monstrous" – as Sylvia puts it - and continues to control
his artificial paradise on the grounds that this is what the world ought to be like: conformist, without tension
or challenge, where stability is more important than excitement, where safety and security are to be valued
above choice and self-determination. Christof has accepted his power over Truman to such a degree that he
genuinely believes that Truman’s life is happy, that he is better off where he is.
In order to keep Truman in Seahaven his entire life, Christof has reinforced the idea that the rest of the world
is a dangerous place. Newspaper headlines proclaim Seahaven as having been voted the best place in the
world to live, and there's a funny and poignant flashback to young Truman's announcing to his elementary
school class that he wants to be an explorer, only to have his teacher respond, "I'm sorry, you're too late.
There's nothing left to explore." In these moments, The Truman Show becomes the anti-It's a Wonderful
Life, a parody of the repressive ideal of small-town America as nirvana that Ronald Reagan reintroduced into
American life and that has never really gone away.
The world of the audience reflects this belief that other people’s emotions are entertaining and rewarding,
that life can be lived vicariously, that it is acceptable to control and manipulate another person for
entertainment purposes.
Only Sylvia wants to free Truman from his 'prison', but she is powerless. She is forcibly removed from the
set. Her affection seems to be genuine; her phone call to the television ‘live chat’ with Christof reveals her
concerns for the emotional independence of Truman. It is only with Sylvia that Truman has a real
relationship that is not compromised by the demands of television. The film ends on a note of hope that they
will find each other.
5.
How does the film use costume to reinforce the features of each major setting?
Real world characters wear ordinary clothes – look authentic. Christof wears the 'uniform' of the creative
artist: black clothes, beret, wire-rimmed glasses (though his white 'collar' also gives him the look of a priest).
Other technicians dress in dark colours.
Viewers are shown in clothes from 'The Truman Show': Meryl's dresses, her lingerie; T shirts etc. Sylvia's
stripes link her to Truman's world.
'The Truman Show' characters wear carefully colour co-ordinated costumes, with only Meryl dressing
differently from the rest of the characters. The basic colours are subdued: neutral browns, fawns, greys, with
dark (foliage) or pale (scrubs) green, and dull ochre yellows. Throughout is an accent red which is a
terracotta/maroon red. Little blue, no orange, no bright greens or yellows, or clear reds.
Stripes are common, and associated with Truman, who nearly always wears stripes (which may suggest
prison garb). The staff in the Truman Bar wear maroon aprons and striped shirts. Even the umbrellas on the
beach are striped.
Meryl, however, is often in spots and checks – black and white, flowers. Pluto's spots recur elsewhere also –
the twins' ties, for example. Truman is also associated with tartan – his pyjamas, his suitcase, his cap; there
is tartan on Sylvia's red sweater, and Meryl wears it in the portrait behind which Truman hides his collage of
Sylvia.
Women wear hats, not worn in the outside world since the sixties, and dresses with big skirts. Men are in
hats and some in walk shorts – another fashion that has largely gone. Truman changes from his gardening
clothes back into a collar and tie to go hitting golf balls with Marlon – another fifties' hangover, when men in
'white collar' jobs wore ties even when they were relaxing.
Some examples:
Sc. 1:
sc. 6:
sc. 8:
sc. 18:
sc. 24:
sc. 32:
sc. 56:
pink striped pyjamas
Lawrence has a brick red striped tie; behind him are the terracotta red jerseys
in the garden, Truman wears red shorts, red, yellow, khaki striped shirt; plaid hat
Lauren is dressed in a red and yellow skirt
both have red striped ties, Truman a striped jersey
Truman has a red tartan suitcase; striped shirt, yellow sweater; her dress is red
Truman has abandoned his Seahaven colours for the neutral grey of the sailor, bringing him closer
in look to the characters in the 'real world' – well, in the Lunar room anyway. It is superbly ironic
that most of the other 'real world' characters prefer to dress in 'Truman Show' clothes and colours –
life imitating art.
See also 'Costumes' p. 46
6.
What other techniques of filming, sound and music, lighting, etc reinforce the impressions you get
from each of the main settings?
See pp. 40 and 47
Truman's world is always sunny, people always cheerful, the scenarios reminiscent of a soap opera. Yet
stripes and bars abound, suggesting a prison. The Venetian blinds in his home look like prison bars.
Christof's world is dark and full of bloated images and control panels, people focused and businesslike, with
scenarios reminiscent of a high tech thriller.
The viewers dwell in bedrooms and bars and bathrooms and seem spontaneous and natural – yet their
surroundings are ominously full of echoes of Truman's world – colours, clothes, images etc. The real world
apes the artificial one.
7.
List the minor settings. For each, briefly describe the main features of it.
Sylvia's room, Truman's basement – see below
Truman Bar: always crowded, full of souvenirs for sale; dominated by TV screen
Old Ladies' room: fussy, 'feminine' – floral couch, souvenirs (embroidery frames, cushion, photographs,
china)
Truman's office: open plan with cubicle divisions – little privacy. Name on desk, phone, good view. Even the
manila folders are in Seahaven's colours: dull green, ochre yellow, maroon red
Angela's room – family photos, paintings, parrot lamp, flowers, open fireplace with flowers in the grate; no
books
When designers and set decorators decide what a room will look like, they are actually creating a back-story for
the characters that live there.
8.
Which characters are shown in rooms that can be said to be theirs? Briefly describe the features of
each room that tells us something significant about the characters.
Truman's basement: is where he keeps his own things – in a vain attempt at privacy.
 record player and LPs (no CDs) – in a tea-box trolley; bed in corner;
 closet, through which he will tunnel and escape;
 a few books; pennants; Chinese Lanterns (from the school dance?); a duck
 chest with memorabilia – keeps it locked (from Meryl) which suggests there is a lack of trust
 flags; globe of world – his curiosity, desire for adventure and exploration; large pull-down map of Fiji –
demonstrates his obsession with it
 lawnmower – his excuse to come down here?
Sylvia's room
 red striped couch echoes Truman's world; dominated by TV set
 dominated by her 'Free Truman' posters; the banner that the skydiver wore
 table littered with paper, ruler, cuttings etc; books on shelf at back
What's in a Name?

Below is a list of the names used in the film. Identify the characters, and suggest a reason for the choice of
each.
Most are named after Oscar-winning movie stars – appropriate for a movie about a TV show made in
Hollywood – who were big in the 50s. Meryl Streep is more recent but Meryl joined 'The Truman Show'
much later. It is Christof who is responsible for the names of all Seahaven places and characters.
1.
Seahaven
'haven' – safety, sanctuary, by the sea; also close to 'heaven'
2.
Christof
Identified as the god figure, the creator. The single name suggests he has given himself this name.
3.
Truman
true man = the only real person in Seahaven
4.
Burbank
Named for the area in Hollywood where the film studios are located. Probably also evokes – for older
Americans anyway – an early 1970s TV programme called 'Laugh In'', whose announcer always said
the show originated in "beautiful downtown Burbank" – beautiful only in his saying so.
5.
Meryl
two-time Oscar-winner Meryl Streep
6.
Marlon
Lemmon
two-time Oscar winner Marlon Brando; + Jack Lemmon (the surname is only in the screenplay)
7.
Angela
Truman's mother: perhaps after Angela Lansbury, or simply that she is an 'angel'.
8.
Kirk
Truman's father; Kirk Douglas
9.
Spencer
the neighbour; Spencer Tracy
10. Errol
the newspaper kiosk man; Errol Flynn (ironically small and wizened; Flynn was tall and handsome)
11. Lauren
Garland
Lauren Bacall and Judy Garland. (It is unlikely that an extra's character would get two such significant
names so either Lauren was originally intended as Truman's love interest and dropped when she was
seen to be untrustworthy, or it is just dramatic licence)
12. Sylvia
Lauren's real name; connotations of silver = truth (sterling silver); or an allusion to the song 'Who is
Sylvia?' The name is Latin in origin and means woods or forest. Probably not after an actress since
Sylvia is her real name. (Sylvia Plath has been suggested, but a poet who committed suicide seems
unlikely.) Possibly for Sylvia Pankhurst, the founder of the suffragette movement.
13. Lawrence
Truman's supervisor at work; the great Laurence Olivier
14. Vivien
Truman's new love interest – Vivien Leigh (two time Oscar winner, married to Laurence Olivier);
Lawrence introduces her to Truman
15. Simeon
Christof's 2 i.c.; Simeon is a devout man in the New Testament who recognises the infant Christ as the
saviour of the world (Nunc dimittis).
16. Walter
(Walter is the actor who plays Kirk); Walter Houston
17. Louis
Coltrane
the actor who plays Marlon; Louis Armstrong (trumpeter) and John Coltrane (saxophonist), great jazz
artists; Marlon is shown playing the trumpet
18. Santa Maria
the yacht Truman escapes on; one of the ships of Christopher Columbus when he set out to find the
new world. Saint Mary was the mother of Christ.
19. Pluto
Disney's dog; Pluto is a Dalmatian, and one of Disney's most hyped films was 101 Dalmatians.
Disney is the ultimate media fantasy-machine. Note that the friendly Pluto becomes a snarling search
dog when Tuman disappears – the perfect symbol: its benign exterior hides an ugly reality.
20. Washington
the African-American family Truman greets each morning. Possibly after George Washington, founding
president, but more likely after Oscar winner Denzel Washington. They are probably recent imports into
the show since the child is quite young.
21. Lancaster Square and
Taylor Point
Burt Lancaster, Elizabeth Taylor
22. Bogart, Brando, Stewart
and Bacall Streets
Humphrey Bogart, Marlon Brando (again), James Stewart, Lauren Bacall (again)
23. Barrymore Road; DeMille
Street
John or Ethel Barrymore; not Drew (John's granddaughter) since she wasn't born when
Seahaven was built. Cecil B. DeMille was a great mid-C20 director, best known for epics
such as The Ten Commandments.
24. Hannah Gill
Hannah evokes Hanna Barbera, the big animation TV production company – very
appropriate for one so manipulative. Can't think of any reason for Gill.
25. Jean, Jodie, Joanne
Meryl's bridesmaids: Jean Simmons, Jodie Foster, Joanne Woodward
Other names in the screenplay that did not make the final film include Monroe St (Marilyn Monroe) and Tyrone's Bar (Tyrone
Power).
The Truman Show as a Postmodern Text
'a typical postmodernist piece'
'In The Truman Show, Weir signals off the overt postmodernist character of his
text by foregrounding the theatrical aspects of this metaphor from the very
beginning.'
… the film within the film technique Peter Weir has ingeniously designed is a
standard practice in the structure of postmodernist texts
What is Postmodernism?
It is difficult to explain briefly because it differs depending on the area or topic being dealt with; postmodernism in
film differs from that in art or literature, for example. Many of the responses to The Truman Show discuss the film
as a postmodernist text in filmic terms, others in more general philosophic terms.
Originally coined by the famous historian Arnold Toynbee in the 1940s, postmodernism is a term that indicates,
among other things, a basic world-view that rejects absolutes – all absolutes, of any kind whatsoever. This is its
simplest expression. In its more complex form it involves deconstructionism, historical revisionism, selfreferential meta-fiction (where the author self-consciously refers to the artificiality of the work itself), and rejection
of meta-narrative (over-arching archetypal stories that explain the world).
But ultimately it is the belief that there is no underlying objective reality, no absolute reference point by which to
judge true and false, right and wrong. Chance and indeterminacy rule. No ultimate order in the universe, no
foundational reality, only individuals constructing reality through our own interpretations and imposing them on
others.
Toynbee explains that the 'Pre-modern' phase, which included the Greek, Roman and early Christian empires,
was marked by a recognition that reality was created and sustained by a supernatural realm beyond the senses.
Whether pagan gods or the Christian God, people believed in the supernatural and considered themselves
subservient to it.
By the 1700s, with the Enlightenment succeeding the Renaissance, humankind became 'Modern', beginning to
see religion as ignorant magical interpretations of a universe that is actually created and sustained by naturalistic
machine-like laws, understood without necessary relation to deity. The 'Age of Reason' was marked by empirical
science and autonomous reason as mankind's absolute tool of truth. Man was 'the measure of all things', and
reason the new god.
With postmodernism, not only was God excluded as a foundation for making sense of reality and human
experience, but we cannot speak of any universal truth, reason, or morality. We just have fragmented
perspectives.
In Religion Without Belief, Jean Ellen Petrolle argues that contrary to popular understandings of postmodernism
as an irreligious and amoral climate, postmodern allegory remains deeply engaged in the quest for religious
insight. Examining a range of films and novels, her book shows that postmodern fiction, despite its posturing
about the unverifiable nature of truth and reality, routinely offers theological and cosmological speculation. Works
considered include virtual-reality films such as The Matrix and The Truman Show, avant-garde films, and
Amerindian and feminist novels.
Postmodernism in Cinema
The term is used to denote a particular style of film that developed from about 1980 (though it has its origins
much earlier than that). It does not necessarily express or relate to the philosophy. It developed from Brecht's
alienation effect in the theatre and came into European cinema via European directors such as Jean Luc Godard
and Luis Bunũel. Early manifestations in English-language cinema can be seen in, for example, the selfreferential and knowing French Lieutenant's Woman (1981), in which actors play parts in a film and their lives
echo the lives of the parts they are playing.
Features of postmodern films
Postmodern films are characterised by a deliberately artificial approach, a tonguein-cheek sensibility, a self-awareness. They are films that destroy – or at least
toy with – the suspension of disbelief, that draw attention to themselves as
artifices. Characteristic features include inter-textuality, parody and pastiche,
and reinterpretation of, particularly, stereotypes and received wisdom. There is
often nostalgia for a conservative past.
Michael Kokonis, in his essay 'Postmodernism, Hyper-reality and the Hegemony of Spectacle in New Hollywood:
The Case of The Truman Show' argues that the film demonstrates all three stages defined by Baudrillard's theory
of communication. The pre-modern period (stage one) is characterised by the 'counterfeit' (signs reflected reality,
art imitated life), the second stage is 'production' (signs mask the absence of basic reality, as in mass production)
and the third, 'simulation' (the current phase where signs bear no relation to any reality).
The Truman Show, argues Kokonis, demonstrates the 'counterfeit' in its recreation of the 'nostalgic narrative
of the ’50s. … Admiring an incredibly fabulous sunset, Marlon exclaims, “That’s the Big Guy. Quite a big paintbrush he’s got.” His ambiguous remark brings home the point that the “whole kit and kaboodle” is fake, not God’s
creation, but the ingenious creation of an eccentric and inspired televisionary. As a period piece (of the ’50s),
with a realism observed to the tiniest detail, Truman’s world is perfect: art imitating life. But since it never ceases
being a reproduction or a copy, it offers by definition a perverted picture of an era, so dear to a hippie-generation
of filmmakers that keep on revisiting it in nostalgia narratives (American Graffiti, Blue Velvet, Body Heat).'
The film fits the 'production' stage, he says, by being so 'refreshing and riveting' that we are swept along with
it and so prevented from considering the logistical problems such a show would incur (actors' salaries, story
development, the finance such a project would need). In the third stage, 'simulation', life has become theatre: art
not only mirrors life, it structures and reproduces it. Christof tells Truman he was "real", but can he be real if the
whole world around him is fake?
On a more superficial level, The Truman Show's inter-textual character reflects the contemporary diversified
multimedia market and offers a commentary on the cinematic and the televisual.