Production
Favreau wrote the screenplay to Swingers in two weeks, with various friends in mind for key roles. One scene, in which Trent yells at Sue for insulting Mike, was written at Vaughn's request to make it clear that beneath Trent's swagger, he truly cared for Mike as a friend. Favreau and his friends gave reader's theater performances of the script to drum up interest in and capital for the movie.
Swingers was filmed on location at several Los Angeles nightclubs, particularly in the hip Los Feliz neighborhood, including the Dresden Lounge and the Derby. The Las Vegas scenes were filmed primarily in two locations, with the exterior casino shots taking place at the Stardust Resort & Casino and all the subsequent interior shots being filmed at the Fremont Hotel and Casino, farther north in downtown Las Vegas.
In addition to casting their friends in key roles, Favreau and Vaughn gave cameo roles to their family members. Vince Vaughn's father, Vernon Vaughn, plays the lucky gambler at the $100-minimum blackjack table, while Favreau's grandmother, Joan Favreau, is the lucky gambler at the $5-minimum blackjack table.
- Filming locations
- Mikey's apartment is located in the Hollywood Hills area of Los Angeles, a few miles from the Dresden Room.
- The Dresden room is a popular (classic) bar and club in the Los Feliz neighborhood, located at 1760 N. Vermont Ave. Marty & Elayne, who are performing in the Dresden scene in the movie, perform at the Dresden in real life several nights a week.
- The cafe where various factions of the crew meet and eat was the Hollywood Hills Coffee Shop (now renamed under new ownership as the 101 Cafe) and is part of the Best Western Hotel on Franklin Avenue near Hollywood, and near the 101 freeway.
- The bar where the characters dance is The Derby in Los Feliz, on the corner of Hillhurst and Los Feliz Blvd. In January 2009, the nightclub closed its doors.
Read more about this topic: Swingers (1996 film)
Famous quotes containing the word production:
“The society based on production is only productive, not creative.”
—Albert Camus (1913–1960)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“The growing of food and the growing of children are both vital to the family’s survival.... Who would dare make the judgment that holding your youngest baby on your lap is less important than weeding a few more yards in the maize field? Yet this is the judgment our society makes constantly. Production of autos, canned soup, advertising copy is important. Housework—cleaning, feeding, and caring—is unimportant.”
—Debbie Taylor (20th century)