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As a writer myself, my job has very often been to also write on the job. So you get the script and a vague idea of how the scene might work, and you then add funny words or change the script. I'm not the world's best writer or the world's best actor, but I can do that thing where I can fix - or ruin - fix-slash-ruin, add quirk, add value.
What Tim does is, he calls me and sends me the script. And then he sends me a drawing, an illustration of his image of me as the character. It's so great.
You can dress it up, but it comes down to the fact that a movie is only as good as its script.
Howard Minsky had gotten the script to her agent prior to my involvement.
The great thing I think when you do independents is that people are really there for the same reason. They're not there because they got a lot of money and they want to just go home and get it over with. They're there because they believe in the script or the director or the cast or whatever it is, and they want to make it work.
With any mannerisms or dialogue, you have to be careful you're not just serving yourself. What happens with improving is a lot of times, if you're not in the framework of the script, you're just making everything easier so it fits you.
I'm doing another Churchill. I did a Churchill for HBO and that was up to 1939 and there's talk of the war years. They were going to do it this fall, but the script wasn't going to be ready.
'The Fighter' was about a family struggling to overcome and fighting each other sometimes, and I went back and rewrote this script which I had written for my son initially because my son has mood disorder.
David O. Russell
The bottom line is, it's a great script and that's very inspiring and makes you want to overcome whatever technical difficulties you come up against.
I miss that process of getting the script and reading it and working on it. Every actor has their own way of memorizing their lines, and the whole process of starting to work with the other actors and the director, and doing rehearsals, and going to the location, and going through wardrobe.
Finally, when the money was high enough, the script suddenly revealed itself as being very clear to me.
That was, in writing the 'Twilight' script I had about five weeks to write that. I'd taken about a month to write the outline and then it was slam into a script and write it down fast because the writer's strike was looming.
I've done about six comedies. Oddly enough, the script came to me from one of the guys in Platoon.
I'm a big 'Breaking Bad' fan - if I'm not in the script, I like to experience the show with the rest of the world. I'm ready to be shocked.
Steven Michael Quezada
There's something about taking a film from concept to script, through production, and then to see the final thing happening in the edit phase. It's almost like a miracle in the making.
I found Hollywood pretty bruising and uncreative. The executives are all in thrall to the boss, and spend their times double-guessing him or her, and trying to remember what he/she said and then applying them to the script, whether it was useful or not. They're all in fear for their jobs.
For me, I've always been one that reads a script and has been ready, wiling and able to go out and fight for parts.
When I shoot, I try to feel the body and the face and the weight of the actor, because the character until that moment is only in the pages of the script. And very often, I pull from the life of my actors. I'm always curious about what these characters and these actors are hiding about their lives.
When I read a script, I have to see the funny, and if I can see it's funny, it helps me to be able to transmit that.
You just have to take these opportunities when they come along. They're not that frequent; you'll get a really good script, oh, maybe once a year if you're lucky.
I've been involved with some huge studio projects that have been bloody awesome. It all starts with a great script, doesn't it?
I can't imagine directing from someone else's script.
As much as I thought the end of 'Friday Night Lights' was a really great ending, I was one of those people who wanted to make it into a movie. Even though it ultimately didn't work to do that movie, I did work with some of the other writers and by myself writing a script for that.
Different directors have different things, so when I left Mike Leigh, as it were, and I went into other projects after 'All or Nothing,' it took some getting used to - what do you mean there's a script?!?' That kind of thing.
When I was in New York, a lot of my friends were studying filmmaking and would bring their scripts to me, as I was a good script doctor. I would read their scripts and make corrections to them for $20 per script and was fascinated by films.
C. S. Lewis
Martin Luther King, Jr.
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