Lesson 4

[Jane Alcala]

What I learned from Assignment Four: That an opening can encapsulate major themes of the movie and lots of subtext right off the bat in a deceptively simple way. That subtle humor knocks me out.

Movie Title: Swingers

Lead Character Name: Mike

Why would an actor WANT to be known for this role?

Mike has an outstanding introduction. It’s immediately clear that he’s desperately searching for answers as to how to get back an ex-girlfriend who has obviously broken up with him. The audience can clearly see why the answers aren’t clear to him–he simply can’t accept the loss and is reaching for straws at every turn, including begging for answers that will magically bring her back to him. Mike is basically a good guy, who is also witty, a great dancer, emotionally raw, intelligent, but with glaring blind spots. He is ultimately attractive to women. Character also allows actor to express a broad range of emotions, and to win in the end.

What makes this character one of the most interesting characters in the movie?

Mike is dealing with a heavy personal and universal issue: being rejected. He is openly desperate and vulnerable, engaging both his friends and the audience’s sympathy. We’ve all felt what he’s feeling, but most of us haven’t been able or willing to show as much pain and desperation to his friends as Mike is compelled to show. He allows audience to live through emotional extremes. As he is the fool, audience can also laugh at him, and at our own feelings about being rejected.

What are the most interesting actions the Lead takes in the movie?

Mike allows himself to be mentored on getting over break-up by an apparently cool, emotionally unaffected and “with it” friend, Rob, including joining Rob on a trip to Las Vegas, and going out swing dancing.

How is this character introduced that could sell it to an actor?

By a clear, concise, funny conversation between two men

What is this character’s emotional range?

Worried, despondent, anxious, bitter, desperate, hopeful, irritated, excited, weak, self-assured.

What subtext can the actor play?

That dealing with loss is a process, there are no easy fixes. Loss drives us all crazy and causes us to act like a fool.

What’s the most interesting relationships this character has?

With his friend Rob, who both genuinely wants to help Mike recover from heartache, but also wants to recruit Mike to be a steady wingman and fellow player

How is this character’s unique voice presented?

Through Mike’s ability to be painfully honest and unfiltered.

What makes this character special and unique?

He’s incapable of keeping up a macho front, as men are expected to do.

(Fill in a scene that shows the character fulfilling much of the Actor Attractor model.)

<b style=”font-size: 1rem;”>EXT. “BOURGEOIS PIG” COFFEEHOUSE – COUCHES AND TABLE IN FRONT 2

        WINDOW - NIGHT

        ROB sits down next to Mike, pouring himself some tea.

                             MIKE

                   And what if I don't want to give up on

                   her?

                             ROB

                   You don't call.

                             MIKE

                   But you said I shouldn't call if I

                   wanted to give up on her.

                             ROB

                   Right.

                             MIKE

                   So I don't call either way.

                             ROB

                   Right.

                             MIKE

                   So what's the difference?

                             ROB

                   The only difference between giving up and

                   not giving up is if you take her back

                   when she wants to come back.  See, you

                   can't do anything to make her want to

                   come back.  You can only do things to

                   make her not want to come back.

                             MIKE

                   So the only difference is if I forget

                   about her or pretend to forget about her.

                             ROB

                   Right.

                             MIKE

                   Well that sucks.

                             ROB

                   It sucks.

                             MIKE

                   So it's almost a retroactive decision.

                   So I could, like, let's say, forget about

                   her and when she comes back make like I

                   just pretended to forget about her.

                             ROB

                   Right...or more likely the opposite.

                             MIKE

                   Right...  Wait, what do you mean?

                             ROB

                   I mean first you'll pretend not to care,

                   not call - whatever, and then,

                   eventually, you really won't care.

                             MIKE

                   Unless she comes back first.

                             ROB

                   Ah, see, that's the thing.  Somehow they

                   don't come back until you really don't

                   care anymore.

                             MIKE

                   There's the rub.

                             ROB

                   There's the rub.

                             MIKE

                   Thanks, man.  Sorry we always talk about

                   the same thing all the time...

                             ROB

                   Hey man, don't sweat it.

                             MIKE

                   ...It's just that you've been there.

                   Your advice really helps.

                             ROB

                   No problem.

                             MIKE

                   Rob, I just want you to know, you're the

                   only one I can talk to about her.

                             ROB

                   Thanks.  Thanks, man.

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• This reply was modified 2 years, 3 months ago by  Jane Alcala.