Functional Order: Fi-Se-Ni-Te

Marilyn is unable to connect to a character she cannot understand; the choices of her heroine seem “stupid” to her, so she argues about changing the motives of the character in the scene (saying she cannot be naïve, she must know she’s being seduced!). Marilyn is extremely sensitive and crumbles under pressure to let go of her need to “get” her character and just “play her anyway.” Olivier further insults her when he says she doesn’t have to understand the role, just play a sexpot, since that’s what they hired her for in the first place. Marilyn is private with her feelings, and too much praise or disappointment causes her to retreat into her shell. She’s unable to accommodate others when her feelings take hold, keeping entire crews waiting for hours while she refuses to emerge from her dressing room. She feels uneasy when she has nothing to do, and often instigates others into having adventures with her, including Colin. She tells him she wants to go outside and poke around, to see if “there are any more journalists” hiding in the bushes. She goes skinny dipping with a semi-stranger, for the thrills. She happily races around the city with him, delighted to take in the sights. Marilyn admits she has been married three times and isn’t sure how that happened. In her unhappiness, she turns to booze and pills to stabilize her. Her Ni is weak, since she cannot figure out why Laurence Olivier is so “mean to her,” and she must turn to Colin to have him explain the intuitive reasons (both of them envy each other, and both know this film won’t further their careers). She is too wrapped up in her own experience to think about the money she is costing the studio. Marilyn on occasion, will lash out, but mostly just acts on her feelings.

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Marilyn grapples with an almost crippling sense of self doubt that threatens to consume her and keep her from working. She needs constant affirmation about her acting and crumbles beneath Laurence Olivier’s criticisms of her techniques (or in his opinion, lack thereof). She is forever turning to and clinging to others who seem more stable, more productive, etc., than herself. She cannot act without her acting coach on set, directing each and every word and emphasizing what emotions she should dwell on. Whenever Marilyn cannot stand her life, she runs away into sensory pleasures and distractions — she bathes nude with a handsome boy, she drinks, and she charms the crowd. She can be quarrelsome on set at times and demanding.