![]() While he remains steadfast in his relationship with Will, Sean changes in the subplot by starting to apply his concerns to his own theories. Sean's problem is his hunch that Lambeau and the rest of their peers think he's a failure. The Lambeau/Sean subplot effectively serves to develop the influence character throughline, yet is also responsible for the film's most awkward moment. The therapist is finally able ( influence character issue) to convince Will of his self- worth and subsequent value to others, setting up the relationship story solution of expectation. The guy never saw his kids, one of whom, I think, ended up in an asylum."Ĭhuckie homes in on the main character benchmark of obtaining, declaring if Will fell in with Lambeau's plans, at least he'd "make some nice bank." In this same conversation, the objective story symptom of unending, and response of ending is illustrated: But this kid's not here for nothing." He further ruminates: "Einstein. He changed the world." This conflicts with Sean's reality check ( fact): "That's great, Gerry, if that's what he wants. " Lambeau has a fantasy ( objective story issue) of Will as the second Einstein: "But it was one twenty-six year old Swiss Patent clerk, doing physics in his spare time, who read the mind of God. You can know everything in the world, but the only way you're findin' that one out is by giving it a shot.Īs the story continues, Lambeau asks Sean if he and Will have discussed the boy's future ( objective story benchmark) because his (Lambeau's) "phone's been ringing off the hook with job offers. ![]() The question is, whether or not you're perfect for each other. ![]() And let me save you the suspense, this girl you met isn't either. we get to choose who we're going to let into our own weird little worlds. Little idiosyncrasies that only I knew about. Right now she's perfect, I don't want to ruin that. ![]() You don't get it, she did everything right. He rudely and cruelly makes assumptions about Sean's marriage, unwittingly determining ( relationship story problem) Sean's focus, the ceaseless mourning for his wife: Will sets off the relationship story concern of preconscious in his first session with Sean. Tired of teaching, tired of life, he finds himself resigned to the tedium of teaching core classes to an indifferent student body." Lambeau calls on their past friendship for the favor of Sean counseling Will, divulging, "You're from the same neighborhood." The screenplay description sketches his current existence: "Although there is a confidence in his eyes. His throughline is explored, appropriately enough, in the psychology domain. Sean is Lambeau's last ditch effort to find a therapist for Will. Why is he hiding? Why is he a janitor? Why doesn't he trust anybody? Because the first thing that ever happened to him on God's green earth was that he was abandoned by the two people were supposed to love him the most!" He has a male mental sex, particularly well represented in his symptom of cause and response of effect, yet his genius, in a sense, is holistic: Abandoned and abused, Will carries a colossal chip on his shoulder-he is a do-er who strikes out with his fists, and defends himself and his friends with brilliant intellect ("My boy's wicked smart"). Will is concerned with doing what it takes to get by-his activities have no inherent purpose. He is the main character his problems occur in the physics domain. It is no surprise this fine first effort has, as of this review, already been awarded Best Original Screenplay from the foreign press, and nominated for an Academy Award for Best Original Screenplay. The storyweaving of all four throughlines is tight-a scene depicting the passionate argument can also contain points pertinent to the main character, influence character, and objective story throughline (e.g., Sean McGuire in his psychologist role). A nice moment intimating Damon and Affleck's long time friendship is a glance into their characters' daily routine-the fluid motion of sliding into the car, coffee in hand, and moving off. Cast with real life friends and screenplay authors Matt Damon and Ben Affleck, dialogue is realistic, if sometimes too quick, accents thick, and asides perhaps too inside for the audience to catch. The film delivers an intellectually and emotionally fulfilling story. ( Quotations used in this article are from the development script dated 12/4/96 by Matt Damon and Ben Affleck.)
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