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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 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 don't sit around and study the pages of a script over and over again.
What they told us about 'Star Trek: The Next Generation' when we first started was that we were guaranteed 26 episodes, so that was the longest job I've ever had. And that was basically it - we didn't know what the premise of the show was going to be and we waited, week by week, to see a script.
As a screenwriter, there's so many layers you have to go through in order to tell your story. You have to write the script, get money for the script, shoot it, find distributors, make it into film festivals, all of that just to get to your audience.
I like roles of people who can overcome things because there's strength in that and an arc - and roles where they start in one place, and toward the end of the script they end up in a completely different place, so you've seen this growth and some humanity in the role.
I like it when a script shows you something new, and you can learn something through the journey of a film rather than being told things you already know.
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 keep drawing inspiration from people every day. All of a sudden, something strikes me so hard and dramatically, and then a dream comes - I sit down, cut it off and make a script out of it.
Sometimes you do a film because the script is amazing, sometimes you do it because you get to work with amazing people, and sometimes you do a film because they pay you money.
Sean Patrick Flanery
My manager got the script for 'Under the Dome,' and I read it and just fell in love with the character. I grew up on Stephen King, and I love his whole aesthetic of the classic American story with supernatural events happening, so it just made sense.
I think that it's fun to get the script and open it like a Christmas present. That's 'Alcatraz' or anything that I'm working on. If the groundwork has been laid too much, the surprises aren't there.
When you are working on a script, the story itself is not difficult. You say this would happen and then this, resulting perhaps in this. And the dialogue you make as true as you can.
I try to leave my work at work, and check my work-baggage at the door before I go outside of here. I'm not a super method actor, and I think that all the answers are inside the script.
Miss Fontanne and I rehearse all the time. Even after we leave the theater, we rehearse. We sleep in the same bed. We have a script on our hands when we go to bed. You can't come and tell us to stop rehearsing after eight hours.
I don't start writing a script until I can see it all in my head, then it's a matter of getting it down in white heat.
J. Michael Straczynski
Reading a script is usually as exciting as reading a boilerplate legal document, so when you read one that makes you feel as if you're seeing the movie, you know it's something different.
There are definitely reasons to do certain things, but I like to stick to good director, good actor, good script.
Once you've agreed the script, you must be willing to go as far as it needs to go on set.
Sometimes you see things in a script, and it doesn't necessarily mean the director sees the same things. And if you think you're going to be making a different film, then that's not gonna work.
The first thing, when I read the script, is that I need to care about what happens and feel compelled by the story and engaged by the characters. It needs to resonate with me, even if what the characters are going through is not something that I have experienced in my life. I have to feel like it has some sort of meaning to me.
For years, I was often afraid to speak up when I didn't fully understand a script. I'd tie myself in knots.
I decided to give acting a serious, committed try, and soon after, I read the script for 'Lovely and Amazing.' The story was beautiful and honest, and the characters struggled with the same insecurities many women - including me - face. I didn't think I had a chance in hell of being in the film, but I knew I had to go for it.
I'm not a big fan of table reads or sitting around a table and reading a script. I'd rather do it on set and do it for real.
We start 'The Butler' in June and that's incredibly exciting for me because I get to work with the amazing Forest Whitaker again. It's a phenomenal script and a great, great role - I play his son. Oprah Winfrey is his wife and my mother. My character is a radical civil rights activist.
John F. Kennedy
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