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The script was just the best I'd read in a long time and I love the humor, which I wasn't expecting, and I like the fact that my six year old daughter can see the show without being, you know, protected from it.
I think that you can't make a movie without a script. But you also can't make movies without actors. You also can't make movies without technicians. And there has to be just one person in charge of everybody, and to me that one person is the director.
I'm not really a director for hire. You read these scripts and go, 'This is a really great script, but Paul Greengrass would make this so much better than me.' I usually say, 'I know who would be good for this. It's not me.'
There are a lot of visual marks that have to be hit, and lines that need to be said in a right way - so there wasn't really any improvisation on the set when it came to the bulk of the script.
I'll read a script maybe twice, but I'll think about the role more than I'll rehearse lines.
Generally, Hollywood makes the same stories over and over. I've never wanted to do the same thing twice. If a script doesn't surprise me in some way, I simply can't commit to the project.
I was told once that I didn't play the Hollywood game, and that's why I wasn't a big star. What they meant when was that I don't go to parties, and when I go to an audition and I don't like the script, they know it.
Chris Columbus, who directed the first two Harry Potter films and was the family comedy king through the '80s and '90s - 'Mrs. Doubtfire,' 'Home Alone,' etc. - has acquired rights to 'The Cypress House' and is working on the script himself, with intent to direct.
Sometimes I want to do something that's really funny and other times I read an indie script that is going to be made for nothing but I want to do it because I think that I can connect with something in the story.
I've been involved with some huge studio projects that have been bloody awesome. It all starts with a great script, doesn't it?
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 like it when you read a script and there's the part that you show to the other characters and then there's the part that only the audience knows.
I apply the three gag rule, which is if I can read a script without gagging more than three times, then maybe I can say yes to this job.
I enjoy co-directing or even being there just for support because you get to see your script come to aural life in front of you.
The thing is I write to music, so every script I have has its own playlist. Music just opens me up to the emotions that I'm writing. It's just a pretty cool thing.
Mr Tony Hopkins says he's willing to do it if he likes the script.
Dino De Laurentiis
I'm just a hired actor who was hired for a particular job, but I think one of the joys of reading the script was the way that the personal and the global are woven together.
I do finish reading a script and say, Why are they making it and what are they talking about? I like to try and be responsible in my choices in that way.
Basically, if you could get a good trailer out of the script, Roger had no objection to you making a really good movie. He liked it if you did. He liked the more cleverness and ingenuity you could bring to it. He just wasn't going to give you any more money.
But if you put a script up in front of me to read, or a cue card, I couldn't do it without stuttering.
I have always thought if you are going to make a film, it's much better to have an original script that will play to film's strengths.
I just have a belief that when there is a rare script out there that speaks to you, you have to stick with it. You have to.
The thing is when you play a character it's the persona you bring across from a book to film, or book to script to film. If I play Frank Sinatra, there's gonna be things I do in a movie that Frank might not have done, but it's the personality that comes across.
I choose my work very carefully, always for the script and the director, and I don't think that's going to change. My work is like a house. It's built on very strong poles.
I've had three novels published, and I was working a little bit in theater in Ireland. I wrote one film script just to see what it would turn out like.
John F. Kennedy
Martin Luther King, Jr.
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