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Some people say that they read the first 20 pages, and then decide if they want to do the film or not. But, I have to read the entire thing 'cause anything can change in a script.
'One Tree Hill' was my first television experience, so naturally I was nervous initially. There is no rehearsal, you get your script a few days ahead, and you work. I was also the youngest actor, 13, on set at that time, but it was amazing to be able to 'learn the ropes' with such a supportive group of people.
Working with Danny Thomas was truly an adventure every week. Danny didn't always say the words as they appeared in the script. I learned more by osmosis than by sitting down together. He was a force to be reckoned with: an explorer of television.
Normally, when I read a script, I read 30 pages, and then go have a cup of tea and come back. And then, I read 20 pages and go make a phone call, and then go back to it.
I started to work on a feature-length script about pirates in Somalia, but I knew that there was something I was missing, which was that I didn't know what day-to-day life looked like and felt like in East Africa. So I decided I had to go.
Promoting a stock is like making a movie. You've got to have stars, props, and a good script.
What appealed to me about 'The Loved Ones' script was that it had this really theatrical element to it. I thought that the scope of this character is so broad, and there is so much fun to be had playing a crazy teenage loner. It was a great way to explore the delusions a mind can create.
I don't really say, 'Is this script Catholic or not?'. But if I find it to be immoral, or it doesn't sit right with me, which happens a lot these days because there's a lot of garbage being written... I'm like, 'I'm not doing this.'
Siobhan Fallon Hogan
Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it's all fitted to the action, to the script, to the characters.
I'll only work on TV shows that have a 'Sookie' on them! Those are the only shows that will cast me. And I've never even met a Sookie in my life. Sookie on 'Gilmore Girls' was played by Melissa McCarthy. And Sookie, played by Anna Paquin, is number one on the call sheet on 'True Blood.' Somebody should write another script with a Sookie in it.
You have to be careful so you don't make your character dull and predictable. Sometimes you have to bend the script a little... The bad guys are mostly the same on the paper... A bad guy wouldn't think of himself as bad.
For all of my class projects, I somehow turned it into a commercial parody or put on plays. My whole thing was seeing things from a big picture, from beginning to middle to end: making a costume, doing voices, writing a script, making it all happen.
I keep drawing inspiration from people every day. All of a sudden, something strikes me so hard and dramatically, and then a dream comes - I sit down, cut it off and make a script out of it.
If only I could step back into the time of old movies, if only I could be given the opportunity to do what Katharine Hepburn did or what Rosalind Russell did. Those kinds of characters, that kind of patter, that kind of language, that kind of script. They don't exist any more.
When we shoot 24, there are so many things I have to worry about, from the script to technical things to my performance, that I don't have a second to be bored or take anything for granted. We produce 24 hours of film a season, which is like making 12 movies.
I did three or four weeks of work on 'Godzilla;' it wasn't a page-one rewrite or anything like that. The term is 'script doctoring,' is what I did on it.
David S. Goyer
On 'Stranger Than Fiction,' the script was so good that I stuck to every line because it was just such brilliant writing from Zach Helm that I felt like I really just want to shoot the page.
Film and television are just different. Film is cool because it's a complete package. You know the beginning, middle, and end. You can plan it out more, which I like. But with television you get a new script every week, so it's constantly a mystery as to what you're going to be doing.
I read the script, and I knew it was a good part. It was written for a white actor. That's what I'm up against - I have to try to make roles happen for me that aren't written black.
I was concerned about doing a sequel and repeating myself. That was before I read the script.
I love the script and I just thought it was a great role. Like I say, it's like this - the script is like this sad, funny, desperate love song to the lost American man.
I don't really get into a big intellectual analysis of why I am going to do a certain script or not.
If it's a good script I'll do it. And if it's a bad script, and they pay me enough, I'll do it.
Dave Chappelle asked me to come do his show. I read the script, and I said, 'Has he lost his mind?'
I don't work very much, and I just sit here waiting for a script that I can't refuse - and I'm not talking about money.
Martin Luther King, Jr.
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