Quote of the Day
I, of course, wanted to do something with Drew Barrymore. Please. So we were reading scripts back and forth and then we found this script, Fever Pitch.
It's all about the script. Reality is key to me and less cutesy.
Your mind just goes to the craziest idea to lure people into the theater, and then you write your script around those elements.
I'm good with a script.
It's a hard thing to do, to be given a script, and know that you've got to turn up on the first day of the shoot - generally without having had any rehearsal - and present a character. It's really baffling; it's incredibly hard to know how to begin, to approach it, other than just thinking about it.
If I had even the tiniest scrap of advice to give to a young actor who was figuring out how to audition, I would say don't memorize the script... The reality about auditions is that 98 percent of the results has to do with what you are, not with what you did in the audition.
I'm not famous for my back story investigations; I'm lucky that I work with good writers and it's usually in the script.
When I read the script sometimes, it's like 'Christ! Enough!' I can't sleep at night sometimes. There's the occasional script that just hammers you, that you can't shower off.
There's the occasional script that just hammers you, that you can't shower off.
Sometimes I read a script and it's obvious from early on that it's one where the suspension of disbelief has to develop strongly from page one. Some are more reality-based.
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.
With a film, you have to pare down and take stuff out and squish it all down into a 110 page script.
Anybody can write a film script 'cuz it has been reduced to a formula.
You can dress it up, but it comes down to the fact that a movie is only as good as its script.
I'm not used to a script.
There's one great script that hit my desk that I didn't change at all, and that was True Romance.
I think a playwright realizes after he finishes working on the script that this is only the beginning. What will happen when it moves into three dimensions?
I think it's always challenging to look at a script and make it your own while maintaining the sense of what the style of the show is.
With indies, all they have is their script and it's very important to them. The characters are better drawn, the stories more precise and the experience greater than with studio films where sometimes they fill in the script as they're shooting.
Actually when I gave out the script, I gave it with a CD of all the music I wanted to put in the movie, and again, we never thought we'd get all that music.
Michael died five years ago this January, and the first thing that really struck me about the script was the part about her peeling off from the funeral and just getting into a rowboat and having a real kind of cry where nobody was.
As an actor, you really want to respect and honor the script. You want to try to be in the moment and you also realize that you're one part of a bigger picture and when they call action, you have your dance.
As much as most of the actors were kind of curious to know what their character meant in relation to the script and to the plot, they really were quite happy to be part of the adventure of not knowing.
Triple tonguing? It was sort of invented. It wasn't in the script. It was something that I came up with.
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.
I always get quite close to my script because I work quite hard on them.
I would love to occasionally do English-speaking films, but the script is as important for me as the director.
Most actors really love it, that's what they want to do. They burn to do it. And so they'll read a script and think, that's an interesting part. And because they love acting, that blinds them to the fact that the rest of it is pretentious nonsense, which it very often is.
Once you've agreed the script, you must be willing to go as far as it needs to go on set.
But when you're writing a script - for me anyway - you have to sort of create an enforced innocence. You have to divest yourself of worrying about a lot of stuff like what movies are hot, what movies are not hot, what the budget of this movie might be.
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