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Normally, when I read a script, I read 30 pages, and then go have a cup of tea and come back. And then, I read 20 pages and go make a phone call, and then go back to it.
I don't like to intellectualize about my acting. I don't sit around and study the pages of a script over and over again.
Composers today get a TV script on Friday and have to record on Tuesday. It's just dreadful to impose on gifted talent and expect decent music under these conditions.
I've always been better at informing the audience through images than through words, but I took on a script that was so dialogue-intensive, that the words had to do all the informing.
If the script is telling the story well, that is your inspiration, and you do not need to go somewhere else.
Video game voicing is absolutely different from cartoon work. In cartoons, you're almost always there with the entire cast, and the entire script is acted out in sequence. With video games, it's you by yourself, in a room with a script you just got when you walked in.
When I read a script and have my first interaction with this character, do I feel like there's something I'm gonna' learn here? If I feel like it's something I've done before, then what's the incentive for me to do it?
My friends, we all improvise together usually. So we write what I think is a good script but always leave a lot of room to find stuff on the day; and we always do find something. That's the advantage to having actors who are, in their own right, writers.
I'm a huge Emile Zola fan, and when Bill Gallagher said he was writing a new character for 'The Paradise' and had me in mind for the role, I knew I wanted to play Tom Weston before I'd even read a word of the script.
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.
Of all the stars whom I worked with, I think Steve knew better what worked for him on the screen than any other. He had such a sense of what he could register, and that helped a lot in terms of shaping the character and the script.
I really would have been stupid not to have done it. It was also a film that was actually happening, I mean, Miramax was doing it, and it had a kind of legitimacy to it. And once I read the script, I was there.
Writing a great script - not just a good one, but a great one - is almost an impossible task.
The reflection of the flame in the glass seems to be touching the hand. And you feel the helpless fear of these dismembered parts. This sort of thing can hardly be visualized at the script stage.
I wouldn't say I'm a very controlling person. For instance, when I talk to the actors, I don't tell them exactly what I want because I want them to surprise me. I even encourage them to change some of the verses of the script if they need to.
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 love OneRepublic, The Script, All Time Low. I love pretty much every genre. I love the Rolling Stones and Elvis.
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.'
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.
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.
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.
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.
When I can see things through the lens of the director, it's like being able to see the whole puzzle - it's not just about my role, but the whole script.
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.
Back then, it was more or less we couldn't change a line in our script. We weren't allowed to change lines. Today, actors change everything and won't do parts. It's very different today. Back then, the producers were in charge. Today actors are more in charge.
John F. Kennedy
Martin Luther King, Jr.
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