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There have been a few times when I've read a script and it's really cool but the girl character's just kind of pathetic. It's not going to do me any favours just being 'the girl' in a cool movie.
The soap opera was so long ago - the thing about soap operas, and there's something to be said for doing it, but you do a script a day. I don't want to say it's a training ground; it really isn't, but what it does teach you is discipline.
Anyway, he and I worked on the script together, and I must say he was a joy to work with. Very enthusiastic.
If I feel like it's a well-written script and if it speaks to me, it's something I want to do. I usually rely on my instincts when it comes to a script.
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.
After I script the movie, I have to storyboard it out, I have to budget it, and I have to understand if I can afford all those visual effects or not.
Often in television, you read a script and you're amazed that you get the scene given to you.
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.
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.
Sometimes you have a period piece where you have to research around it but, if the writers have done their homework well enough, the information is all in the script.
The hardest thing about writing a script is you finish it, but it doesn't mean anything. It's not like a novel or short story - a script is meant to be made into a movie.
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.
Even with revivals, I don't really pay attention to previous incarnations. I always just go with the script and with the director and am willing to treat it as brand new.
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 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've always felt that I'm in a spontaneous business and if you script something, if you plan something, it will sound that way.
If I read a script and I like it, there's nothing that will stop me from trying to be in that movie.
I've been working on this feature script for Master Class, a play by Terrence McNally that won a lot of Tonys.
With film, you read the whole script three or four times, and you really have a solid blueprint of who your character is. Whereas in television, that blueprint is constantly changing and adapting, and sometimes you have to take a risk.
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.
It's been a lot of fun from script to script to get inside the mythology of 'Grimm.' We've been given a lot of freedom to explore the mythology as well as the backstories and interpersonal connections of the characters.
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.
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
The challenging thing is that we go home after doing the run-through and the writers stay there working, so sometimes I get script changes delivered to me at midnight. It's constantly shifting.
Then I got the offer to play Buck Rogers, but I turned it down thinking it was a cartoon character. Well I was wrong, it wasn't at all. So I read the script and decided I liked the character, it had a good concept.
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