Quote of the Day
- Page 13
Yes, I am aware that I have become a caricature. I've thought about this. Conceptually, what I'd like to do is the equivalent of writing myself out of the script.
What happens is things come to you - director, script - and if you respond to it, it's because it's tapping into some part of what's inside you, and different roles tap into different parts.
I get a little upset, yeah, if a year goes by and I don't get a script. Thank God I have other interests that keep me from becoming a nervous wreck.
Modern American war is as easy to script as a B movie.
People would come to me and say, 'Jet, your Kung Fu is pretty good, do you want to be an action star when you grow up?' At 17, I was given the script and I went to make the movie.
We shot in a place called Asheville, which is like beautiful, beautiful forests. And then part of it we shot all the reaping stuff, which was just crazy - because the reaping in the book and in the script is such an emotional thing for everyone. It really did feel like that when we were shooting it.
The script will point you in certain directions and I go the opposite if I can. I try do do one thing and tell a different story with my eyes. I believe what's more interesting is always what's not being said.
I like my characters to be ones I think about long after I've finished reading the script.
I read the script and decide if a particular character looks fun to play. I look for complexity and a sense of humor. Those are crucial, real things to life.
With a bad script and even the best cast, the most you can hope for is to turn a sow's ear into a silk purse.
We had a script reading, and that's where we met J.K. Rowling, which was really exciting.
I always get quite close to my script because I work quite hard on them.
Madonna is that forbidden thing, the Nietzschean creative woman. Her preoccupation with a high level of work doesn't allow her to follow the usual script that powerful women are expected to follow - 'don't hate me for my success, don't hate me for my power.'
I really think that reading a whole script is kind of prying and neurotic, don't you?
I've never ever read a script. I really must read Macbeth, because I was in it once. I got a lot of laughs in that, I can tell you.
We have the script, we have the actors, and we're trying to figure out what this is, and you don't know what it is. You have to be open to what it's going to become rather than have this thing that you're trying to get to, which is boring.
Sticking to my schedule, I've gotten over seven months ahead, which allowed me to write a 'Pearls Before Swine' movie script for the big screen.
I love improv. 'Crazy, Stupid, Love,' the script was really great, but the directors were open to letting you try different things. And that felt like a muscle I hadn't exercised in a really long time.
I wrote a script with my brother which ended up, somehow, on the Black List in 2008.
If you think you don't want to play another psychopath, but the script is amazing, and the director is fantastic, and the story is incredible, then you may end up playing your third psychopath in a row.
The way you get your script to the right people is that you put it in an envelope. It's easy. The difficult bit is writing something that is so good people will take a punt on a brand new writer.
If I had even the tiniest scrap of advice to give to a young actor who was figuring out how to audition, I would say don't memorize the script... The reality about auditions is that 98 percent of the results has to do with what you are, not with what you did in the audition.
Most actors really love it, that's what they want to do. They burn to do it. And so they'll read a script and think, that's an interesting part. And because they love acting, that blinds them to the fact that the rest of it is pretentious nonsense, which it very often is.
I was totally involved in Bobby's World from the time we started the idea to sitting with the artists on how he would look, to the script meetings, the music, the lyrics, the songs.
Things have got to add up to 100 points. The script is part of it, the character is part of it, the people I'm working with is the third part of it - and any combination of the three has got to add up to 100 points.
A. P. J. Abdul Kalam
Martin Luther King, Jr.
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