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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.
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.
Give me a good script, and I'll be a hundred times better as a director.
I am going to have to stick to the script. If I muck around with the words it will defeat the object.
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.
I've been pretty lucky - or slothful - in that I've never been a 'career builder.' I take the jobs that come along that feel right, and that's left me fairly open to all genres, really. But with 'Caprica,' the complex, dark and very smart script was the draw.
The script of 'Shogun' was so tight that you could not take a word out of a sentence, you could not take a sentence out of a scene, and you certainly couldn't take out a scene without putting ripples right through the back or the front of the overall story.
To this day, I get rewrite offers where they say: 'We feel this script needs work with character, dialogue, plot and tone,' and when you ask what's left, they say: 'Well, the typing is very good.'
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.
I truly believe that God brought this, Dorothy Day script to me, because for a long time up until I was in eight grade - I wanted to be a nun.
The movie wasn't really derived from Dark Shadows - they developed a whole new script for that particular one.
The first thing that attracts me to any script is the writing. If I find myself becoming lost in a good yarn, then I feel certain that others will, too.
It's a weird thing when you spend your life trying to find these great scripts and great parts. You are reading scripts, you are traveling the world, you are hassling your agent. You are trying to find that script.
If you get a bad script, then you start expending energy trying to make a silk purse of a sow's ear. When the script's as good as those on 'Game of Thrones,' say, I don't think there was a single occasion where any of us thought there was a bad scene.
I'd rather say no and have said no and do say no often. I walk away from projects if it doesn't feel right; if it's not the right team of people pulling in together or if the script isn't right. It could be a great idea but the script doesn't work.
In a way, the whole notion of a blueprint of a building is not that different from a script for a movie. A sequence of spaces, which is what you do as an architect, is really the same as a sequence of scenes.
I think a lot of playwrights have a script in their bottom drawer that hopefully no one will ever see about a bunch of young people sharing a flat and getting up to crazy stuff.
Actually, it was first a movie called Gale Force, which was a hurricane movie. That script never came together, and then the same deal was replaced with Cliffhanger.
I think every script I read has something that sends me into a state of panic but that usually makes me want to do it.
For me anyway, until I was exposed to doing improvisation and walking onto a stage without any script, I would have never felt comfortable enough to walk into a room with someone like Larry David and audition.
The truth is, a director wins an Oscar for a writer's script and actors' performances.
If I put the script down more than once, there's a good chance that I probably don't want to play the part.
We all write, but the script is a blueprint. We can lose whole scenes when we're shooting.
Improv definitely made me a better auditioner, without a doubt. We did do an audition semester in grad school, and that was helpful for those times that you have a script and you have a few days to prepare it, to really work on sides. But the auditions I was doing in New York, if you got it the night before, you were very lucky.
The guy that picked me up at the airport in 1985 when I was out in L.A. for my first audition was selling a script. I was a nobody coming off a plane to read for a new show.
Martin Luther King, Jr.
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Of all the music that reached farthest into heaven, it is the beating of a loving heart.
Henry Ward Beecher
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