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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.
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.
I have a very good memory for scripts. I can watch a show I like once, then remember about 90% of the script. But ask me who was in it, and I wouldn't have a clue.
I think sequels should be earned and we won't do it unless the script is better than the first one.
I never went to school for acting; it just comes to me. I never practice. I read the script, I'll memorize it. I don't even practice the acting. I'll just do it the day, and it will just come to me.
I think one of the major things a director has to do is to know his subject matter, the subject matter of his script, know the truth and the reality of it. That's very important.
I read a script and I know immediately whether that role is for me or not.
I just think Australia tends to make very good movies, so if someone hands me an Australian or an American film script I would guess the Australian film would be more intriguing.
I remember going to Bob Preston's dressing room because I was losing a laugh - as you do in a long run. He said, 'Give me the script. That's where you're going off the road.' That's comedy. It's never the line itself; it's in the foundation.
To be honest I don't watch the show, I don't watch any TV, so I have no idea what the show is about. I go to Hawaii, shot my scenes and script and 'Ciao.' I'm not a 'Lost' fanatic and it's a disappointment for thousands people and friends that are dying to know what will happen. They know more than me.
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 find that most of my scripts have a lot more scenes than most films, so the average movie might have 100 scenes, my average script has 300 scenes.
You need the words, you need the script, you need the material, you need the commitment, you need the passion, it's like we depend on writers, we depend on producers, directors depend on us and once things are in the divine order as they happen.
When I read a script, if I feel it's written with the idea of just bashing other people, then I shy away from it. Sometimes it's some guy coming out with his own hatred, and I don't need to be a part of it.
If I read a script and find it engaging and I start making choices in my mind on how to approach the work, than that's a good indication that it is something worth pursuing.
There have been times when I've been asked to do things and I've thought, 'This is great! This is a great script. But, I do not believe myself in this role.' I pretend I'm the producer and I think, 'If I was making this movie, would I cast myself in this part,' and if that doesn't feel right to me, then I don't even go audition for it.
I love OneRepublic, The Script, All Time Low. I love pretty much every genre. I love the Rolling Stones and Elvis.
I think with the smaller-scale projects, the burden for success falls more squarely on the shoulders of the actors and the director and the script.
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.
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.
I got a script sent to me at this office and I got a call from a woman - Universal's doing a snowboarding movie. I'm not in it yet, but I'm supposed to meet with the director in New York soon. I'm waiting to hear back from them.
While I don't script and I don't use other performers, I think my taste for underlying precision gives me something in common with Allan and George Brecht.
John F. Kennedy
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