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'Liberace's a great film. It's a great piece of material. I have a great script and it's a great score.
When I do a horror or a fantasy film it all boils down to something in the script that surprises me. It could be a big thing or a small moment. If it's there I'll do it.
I'm not going to tell you the movies, but I remember getting halfway through the thing and everything sort of tunnel-visioned on me and I couldn't read the script anymore. I looked at the people and I just turned and ran out in a cold sweat. It took me about a year to study it and feel comfortable going in and reading for people.
We really love all sports, but we don't think in the long term. The reason we did Kingpin was because there was a script we really liked and we saw the possibilities.
They sent me the script and I thought that there was something very appealing and funny about it. Also, I was familiar with Mike Myers' work in Saturday Night Live, but I did not know the extent to which he would make this creation.
Well, you know, I never want to feel like I have a set plan of what I'm supposed to do. I kind of like to go script by script, and if I like the character and like the story that's why I want to do a movie.
I like both music and acting, and they both have a lot in common - timing, immediacy, stuff like that. But acting is more regimented. You wait around for hours, you don't get to write the script, you get hired. Music represents me better. I'm not acting; I'm just expressing myself.
I was hired to do this one great script called 'Cap'n Ricky' and that project is up in the air at the moment.
In 'Law & Order,' your main job is to stay out of the way of the plot. On another show you'd receive your script and see stuff that seems challenging and feel excited that the writers thought highly enough of you to write it for you.
We had a script that was really solid and we knew how we were going to shoot and how the energy of it was going to go. So it gave us a lot of freedom to use the camera as a character.
I love to see how a character unfolds off the page in a project. I don't always know how the character is going to turn out, even with the script being there. It's not always clear where that character is going to take me. Or where I will take them.
But you're not necessarily ever going to be handed a script where you can say: it's all done and perfect.
Because I used to go and watch him rehearsing for pantomime, and I have adopted some of those priciples, like try to be on time, learn your script, how he approach it, etc.
I sold my first script when I was 21 - this kids' adventure movie that never got made. I just bought that one back, actually. I'm pretty psyched about it.
If a script is good, you are 10 steps into the part just reading it. But my choices are not all down to my taste. It is about people you have worked with before.
I can't wait to do a fully improvised script again, to find people who are really comfortable and into it. It's about the capabilities of the people you're working with, what are their strengths and weaknesses. Some of the most brilliant actors need the spine of the text to work off of, and there's no shame in that; they're actors, not writers.
If the story's interesting and it's a compelling script, I'd be thrilled to be a part of it.
'American Playhouse' is very supportive of writers. That's really why writers like to write for 'American Playhouse' for very little money. They care about making your play, your script, not some network production. We're treated like playwrights, not like fodder for some machine.
When you read a script, you get a feeling from it.
I was deliciously happy filming 'True Blood.' I even kept all the scripts in my office, which I never do with any script. Although I did shred them all in one go when the series finished; it seemed like a ritual, somehow.
But I loved the script to 7th Heaven and couldn't say no. It made me laugh and cry, and I was hooked. I'd love to know who turned it down, because I'm sure at least one other actor did. But I'm glad he did, whoever it was.
As an actor, there are many confusing factors that can make you take or not take a decision. It becomes difficult. Your first and last checkpoint should be the story. I always read a script as an audience.
My sister and I said, Dad, are you doing to do anything about that? And he mentioned treatments other people sent him that he'd been working on. So we thought it would be kind of cool to give these guys a real script.
Rae Dawn Chong
I always choose my projects for the script or what the director want to tell with that story. And if I like the story.
I think that whenever there's a good script we try to make that happen, but it's all based off of a good story, a good script, but I don't believe you should do it just because it's African-American.
John F. Kennedy
Martin Luther King, Jr.
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