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We thought we'd write a good script for women, giving them the fun roles that generally men get.
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.
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.
To try and stand outside the marriage, I'd say we have complementary capabilities. I do the hustling and the business. I do more script reading. I handle contracts.
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 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.
A script like 'Nightcrawler' gives me an opportunity to truly realize a vision that's mine, which is exciting.
The movie wasn't really derived from Dark Shadows - they developed a whole new script for that particular one.
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.
My first book, about Ruby Ridge, was made into a miniseries on CBS in 1996, and since then, I've dabbled in Hollywood, pitched a few things, sold a couple of screenplays and a pilot that I wrote with a buddy from Spokane, flirted with seeing 'Citizen Vince' as a film, and most recently, adapted 'The Financial Lives of the Poets' as a script.
Well, obviously I was excited by the idea that Woody Allen was going to direct it. But at the same time, the script itself and the character was really interesting.
I'm a chanteuse and a diva, and I'm an actress who likes a script.
During long car rides to the set, after I study my script, I go onto my iPad to read books and play games.
I want to take roles that challenge me and I want to like the script and obviously feel connected with the director because the director to me is so important.
Simon Monjack had nothing to do with 'Factory Girl.' He filed a frivolous lawsuit against us... making bogus claims that we had stolen his script. He held us literally to hostage and we were forced to settle with him as he held our production over a barrel.
When I read the 'Country Strong' script, I thought, 'Can't they just hand-double it? Can't I just do the rest of the movie and not have to do the performing?' It took me six months to learn to sing and play guitar at the same time.
Sometimes you take a job for the money, sometimes you take it for the location, sometimes you take it for the script; there are just a number of reasons, and ultimately what you see is the whole landscape of it. But I can tell you from behind the scenes - that's what it is, as an actor.
When you're tied to one show, you are very much at the mercy of the writers, so you can suddenly get a script where you have a heart attack and die.
Knowing that Gene and Morgan were playing those roles made it much easier to put the script together-we knew who we were writing it for. It took some mystery away.
You'd go in, read the script once for timing and then you would sit around and play games. The sound effects people would come in and we would do a dress rehearsal so they could get the effects and the music cues in place. Then you would wait until you went on the air.
I always tend to see, right after reading the script, the character and how I want to play it. I guess that's sort of most of the work, preparing for the role, but almost the creation of the character seems to go on as I read through the script.
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 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.
It's a shame, but every time I get something scientific in the script, I read up to find out what I'm talking about - but then I'm on to the next script and it's forgotten.
I really believe that when you're playing a character that everything is contained in the script. If I'm pulling from things from my own life, then I think I'm being disingenuous to the character and the story.
C. S. Lewis
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