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What I mostly do is take the script, analyse the hell out of it, see what's in there, see what kind of person I'm dealing with, and then forget I'm playing a father and just play a person who exemplifies all those things.
If there's something really, really bothering me about a script, then I'll say something, but otherwise I find my answers in the script.
The important thing is the storytelling and having a script that makes you feel you're living and breathing through the characters.
You hate to see yourself do one draft of a script and then have somebody else come back in and change what you've done.
And then we've got Blades of Glory, and we've got Brothers Solomon, and I've got a script in development with this guy Chuck Martin who used to write on Arrested, and, you know, we have a few things in various stages of development.
I've always felt that I'm in a spontaneous business and if you script something, if you plan something, it will sound that way.
During long car rides to the set, after I study my script, I go onto my iPad to read books and play games.
I turned down the first script offered to me, and the second. I lay on my back one day under an umbrella, in the garden, reading the third, and wondered why I had turned down the first.
I think it helps, as an actor, to never know when you're going to get that next script and you're done.
In America, everyone writes but no one reads. Everyone's writing all day long - sending emails, tweets, text messages; they all think they're James Cameron's Avatar, performing in some video game for which they make up the script.
What's frustrating to me is when, on a low-budget movie, people don't take chances. A big-budget movie, that script's your bible; nobody's going to risk going off the page. But when you're doing a very low-budget film, why not take some chances, intellectually, artistically?
I know that I wouldn't mind going back to work if I could find the right script and the right crew to work with.
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.
I have a background in theater. At the time I read 'The Loved Ones' script, I was playing Catherine the Great of Russia onstage. Straight after that, I played Stella in 'A Streetcar Named Desire' and Isabella in 'Measure for Measure.'
I don't act, anyway. The stuff is all injected as we go along. My pictures are made without script or written directions of any kind.
I enjoy the details. I enjoy coming up with ideas for improving the script, changing scenes and deciding what locations and wardrobe should be - the process of making a film.
I was on vacation with my family when I got the scripts for 'Wanderlust' and I was trying to work on the audition while I was on vacation. I remember a big gust of wind blew the entire script into the pool, so I had to dry it with a hairdryer.
I was one of the first to read the 'ER' script and the good news is George Clooney still gives me credit for helping to launch his career. I had George Clooney under contract for four years in a row before 'ER' happened. He's one of the few who remembers the people who helped him.
The thing about the movie 'Navy SEALs' is that it was just such a waste. The script could've been shaped to be much better, and you just hate to see all that talent and passion go to waste.
If you put someone in a room with no script to direct, they're just going to sit there. Writing scripts is the execution for a show. Then the director takes that and hires people. It's like trying to build a house without any bricks. You need the script. I could build the house, but I have to know how.
John Patrick Shanley
It just gets frustrating playing the girlfriend, It's just this awful feeling, sitting in your house, waiting for a script to come. I like to be more proactive.
Joey Lauren Adams
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.
Together with script writers Syd green and Dick Hills, we worked on the comedy ideas for this series.
When I was sent the script for 'Homeland,' I didn't think anything of it. Three months later, my manager rang and said: 'They are interested in you.' I read it and I realised, 'Yes, I do want this.' Then I got an email saying I'd got it.
If you get a book which is 600 pages, you have to reduce it to a script of 100 pages. In two hours of film, you cannot possibly include all the characters.
Dino De Laurentiis
John F. Kennedy
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