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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.
I knew her work very well and I knew that if she offered me a role in her movie, it wouldn't be something stupid. So I agreed to do the film before I read the script.
I mean when I was working shall we say with Disney, you know they sent me the script for the film Hercules and I had to imagine what all the characters looked like. And to develop those characters, so nothing exists visually when I get the script.
It's always about trying to make everything go with the music, like a script. It's not like, 'Let's have a confetti gun!' If I ever have one of those, it will be because it's absolutely the right thing at the moment in the song. I can't just go get a confetti gun.
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.
Well, PT Anderson sent me a script of Boogie Nights which I let lay around my house for about three months, then one day I'm cleaning my office and decided that I'd better read this before the guy calls me back. I never put it down, bro.
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.
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.
Screen is satisfying because it's so technical and mysterious. It's like playing roulette: you get a script, you think it's either great or naff, but you have no idea how it will really turn out. On stage, you are your own editor - and you get brief moments of grace, where suddenly you feel free.
My Brilliant Career was beautifully directed, but I had a bit of trouble with myself in it. It was a silly script, based on a book this 16-year-old girl wrote.
When I start thinking about a role, I read the script a few times and then let it sink in - and then take some time to develop how that character is going to play out and what he's going to do.
I prefer working, period. I think that I like doing film more just because when you get a script, you have the story from start to finish, so you can really find the character's arc, and when you walk away from it, you know you're sort of powerless to what happens.
The only real difference between shooting 'Firefly' and 'Serenity' was that on 'Serenity,' we had a lot more freedom with time. When you're shooting a television show, you usually have anywhere between six and nine pages of script to shoot a day, and only twelve hours to do it. But with 'Serenity,' we could shoot one scene all day long.
I didn't stutter when I was reading lines in a script. When I got away from myself, I didn't have that problem.
I personally take cues directly from the script, then I like to surprise the other actors. But you must maintain control on a level and see how far you can go up, down or out emotionally. You have to balance the craft with spontaneity.
What has always been at the heart of film making was the value of a script. It was really the writer who could make or break a film. But as we all know, the writer has always been at the bottom of the creative heap.
Douglas Fairbanks, Jr.
'Quantum of Solace' was a bit of a different circumstance than a lot of my other films because you're stepping into a franchise, and also in that particular film, we're dealing with a script from the writer's strike, which was difficult to handle because there was never time to really develop a finished script.
If the script is good, the cast and director good, I'll go anywhere.
I created the characters from what I read in the script. I decided how I should talk, accent, no accent, my own voice, or a created voice. Then, I visualize what I should look like.
I don't watch scary movies. Sometimes, even having to read the script and do an episode of 'Grimm,' I get a little tense because I know someone's going to jump out of somewhere.
Bush is a very poor impromptu speaker. He does fine in small groups but when speaking without a script in front of large groups or answering questions he wasn't prepped for, he has problems.
I did all my directing when I wrote the screenplay. It was probably harder for a regular director. He probably had to read the script the night before shooting started.
Whenever I get a good script, I don't care whether it's telly or theatre or big screen - I'm not bothered.
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.
I dropped the script in the fireplace, called my agent and said, they can jail me, sue me, but I'm never acting again, unless I can do something worthwhile.
John F. Kennedy
Martin Luther King, Jr.
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