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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.
I always write the script by myself.
If I read a script and I like it, there's nothing that will stop me from trying to be in that movie.
And I'm auditioning right now for a movie, and then I have a script that I'm reading right now for a horror film, and I'm meeting for a couple of television shows that I just had yesterday, and pretty much was offered one of them.
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.
I feel like there are things I can relate to in every character. But I feel like when you read a script, you don't get to see the definition behind someone, you just get to read what the person goes through and find a place to come from to make it real.
The green-light meeting, when I first started at Paramount, would consist of maybe three or four of us in a room. Perhaps two or three of us would have read the script under discussion.
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.
My roots are in stand-up, and stand-up is very freeing. There's no script involved; you just fly.
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.
If the story's interesting and it's a compelling script, I'd be thrilled to be a part of it.
With acting I am being led by the script, other actors, the director, etc. But with songwriting I feel it is much more self reliant and allows me to be in the creative experience without being as dependent on others.
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 didn't stutter when I was reading lines in a script. When I got away from myself, I didn't have that problem.
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.
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 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.
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?
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.
Whenever I get a good script, I don't care whether it's telly or theatre or big screen - I'm not bothered.
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.
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.
I never put down a bad script and I never walk out of a bad movie because I'm always hopeful things will change.
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.
I remember reading the script for 'Dangerous Liaisons' and thinking that I could quite happily spend the rest of my life watching this film; the story and the writing were so wonderful.
A. P. J. Abdul Kalam
Leonardo da Vinci
Image of the Moment
You're only given a little spark of madness. You mustn't lose it.
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