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Fozzie Bear has so many bear puns in this script - like, 'Trac is grizzly!' 'This is unbearable!' It's the greatest.
For me, I need to fully immerse myself in a script to the point where I'm literally locking myself away for weeks at a time and I just write it. So I can write twelve to fifteen hours in a day, with breaks in between, obviously, but I need to just sort of live within the world of the script.
I tend to get comfortable with the dialogue and find out who the person is in the script and try to hit that. People are sort of independent of their occupations and their pastimes. You don't play a politician or a fireman or a cowboy - you just play a person.
I took the role because it's rare to read a script that makes me laugh and cry, and it spoke to my own religious feelings, as well as giving me a chance to draw on my experience as a parent. Accepting it was a no-brainer.
I haven't heard anything about a reunion show for Sisters. But if the script was good I would do it.
I won't work on anyone's else's script. I won't write for anyone else. I write my own stuff and make that when the time is right.
We all had our reservations about possibly overdoing it but, you know, the script was great. Basically it stuck to the formula that worked for the first two movies, and for that reason I think this works as well.
When I read the script, I liked the script very much and I thought it was a marvelous part for her, because I think it is a change of pace. I mean, we know how wonderful she is in romantic comedy.
I always think it's interesting to switch genres, because if I read a script and I know exactly how to manifest a story, I don't really want to do it anymore, because I've already done it in my head.
When you see a bad romantic comedy, you see the script, the director, and the actors trying to create this warmth and this pathos and this feeling that you care about them. That cannot be manufactured - it's either there or it isn't.
Most actors go, 'I read the script and fell in love with it'; I fall in love with the directors.
For a long time, there was this rumor that I turned down doing 'Austin Powers,' which is not true. While they did send me the script, I don't think I was ever a serious consideration to direct it. I'm sure they probably sent it to 20 others as well.
Great actors are so easy to direct. It's like they're big 747s that you just have to move left and right, and I don't really need to direct. I need to put them in the right costume, with the right haircut, in the right location, and with the right actor to act with. And then my job is almost done, with a great script, obviously.
Almost every script that I've gotten has been for sort of the generic Hollywood type. I haven't chosen them. All the ones I have chosen are because I've been fascinated with the source material or because of the script.
I cling to the fantasy that I could have done something more creative. Like actually writing a script, or writing a book. But the awful truth is that I... probably can't!
Are Christians too stupid that we can't write a script, we can't film a movie OR we don't know how to act?
Together with script writers Syd green and Dick Hills, we worked on the comedy ideas for this series.
You live for those really great scenes where you almost feel that the film has gone beyond what was printed on the script pages and been raised to another level.
My criteria for doing theater has always been slightly different than my criteria with movies, in that there are a lot of reasons to do films, having to do with location, money, and first and foremost having to do with script and role and director.
I wrote this script in 2003, when I was a humble college student, sitting in my boxers and writing in my dorm room. And I came up with the idea of writing an action-based 'Snow White,' with this kind of Huntsman character as kind of a way in. So, that's something I'm sort of proud of.
I started writing 'Leaves Of Grass' when my professional life was falling apart somewhat. I just had a movie implode in pre-production. And so I came back licking my wounds to New York, where I live, and started to write a script about a protagonist for whom the exact same thing happened: His life was falling apart.
Tim Blake Nelson
To find a script that works with provocative ideas is hard to find.
I love it when actors come to you with a problem and you have to listen. You'd like them to just get on with it, but it often means that there's a problem with the script.
During long car rides to the set, after I study my script, I go onto my iPad to read books and play games.
Because these show are live, script pages are being switched during the program and new commercial teases might be yelled in your ear with just enough time to scribble them on scrap paper before reading them.
A script like 'Nightcrawler' gives me an opportunity to truly realize a vision that's mine, which is exciting.
Martin Luther King, Jr.
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Intelligence is the ability to adapt to change.
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