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In my early 20s, I didn't even know what the Groundlings was. I had no idea. But I know how to break down a script and work on the character.
I've been very lucky and been able to work, as an actress, but I'm definitely a working actress. I get a script, I audition, and then I pray.
I truly believe that God brought this, Dorothy Day script to me, because for a long time up until I was in eight grade - I wanted to be a nun.
It doesn't matter if there are 500 people in the stands or 50,000 people, the '205 Live' guys stick to the script and tear it down each night.
When an actor asks you to read his script, your heart sinks. The number of scripts I've been given by actors that are so unbelievably terrible!
A lot of the time the film chooses me. I'll be working and I'll get a call from my agent and I'll get the script and then tell him what I think.
If I get two lines in the script, I somehow turn it into 20. I've got a bit of a bad habit of doing that, of just embellishing my little moment.
It's hard to find a play that's right for me to do. Rather than waiting around for the right script to come along, I decided to write one myself.
A horrible script 99 percent of the time means a horrible movie. But if you start with a good script, odds are you're going to have a good movie.
Being in front of the camera, you never got to see the whole process from the conception of the script all the way through to the filming process.
When I wrote 'Kidulthood,' I didn't even know there was going to be a 'Kidulthood.' I just wanted to test myself to see if I could write a script.
I don't really belong to that world and I don't think anyone's going to miss me. I'm much happier just to write myself out of the script entirely.
You can have a million dollar, 20 million dollar budget or 60 million dollar budget, and if you don't have a good script, it doesn't mean a thing.
I really love being in a room and developing work.: being at the table, looking at the script for the first time, and putting a story on its feet.
There are a lot of roles in Shakespeare, basically. If I feel that the script is a movie, I would be interested in doing any role of Shakespeare's.
I think with the smaller-scale projects, the burden for success falls more squarely on the shoulders of the actors and the director and the script.
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.
As far as I am getting interesting projects to work in, it doesn't matter whether it's Bollywood, South or Gujarati. The script is the hero for me.
I envision the script as a story in my mind, memorize the entire thing and have it play out. It helps me figure out where my character needs to go.
For me, 'Mary Magdalene' is the most beautiful film I've shot with the performances and the script and the actors and ensemble. But not one saw it.
I am a quick study - I can memorize a script in an hour - but I can't remember a name three seconds. I've even forgotten my wife's name on occasion.
I find that most of my scripts have a lot more scenes than most films, so the average movie might have 100 scenes, my average script has 300 scenes.
When you're tied to one show, you are very much at the mercy of the writers, so you can suddenly get a script where you have a heart attack and die.
As soon as I have the script in my hand, I'll be up in my apartment room pacing up and down learning it because it's just such a lovely thing to do.
I've done a number of things based on real people or true stories or based on books, and I'm a great believer that you have to be true to the script.
It's difficult when you have to turn down a tremendous amount of money because you don't like what the script is saying and you don't have any money.
Whether it's Shakespeare or Moliere, irony is a key component in the construction of theatre. A script would be pretty bad if it was devoid of irony.
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.
If it's an excellent script, I enjoy it tremendously, the acting part of it.
Films are a long process and the script is the first part.
I haven't heard anything about a reunion show for Sisters. But if the script was good I would do it.
I can also romance a guy if I like the character and the script. Obviously, only in the film!
I don't like to intellectualize about my acting. I don't sit around and study the pages of a script over and over again.
Oh I am trying to remember, we would read the script after we did the show.
Anyway, he and I worked on the script together, and I must say he was a joy to work with. Very enthusiastic.
I think part of the problem sometimes is that there's so much happening in my books, to whittle it down into a single script is hard.
It's very rare you get a great script just handed to you, or sent to you, by someone you don't know.
I am not adding more films to my kitty just for the sake of money; I choose my script and do it.
I accept offers only when people approach me with a good script, and all those experiences have been great.
The key is, if you're not monkeying around with the script, then everything usually goes pretty well.
I've never ever read a script. I really must read Macbeth, because I was in it once. I got a lot of laughs in that, I can tell you.
In films, you have to follow the director's vision. Filmmaking is a director's medium. So everything happens as per the script and his vision.
If someone comes with an interesting script where the negative role suits me, I will definitely take it up.
What I do is just go over and over and over my lines and learn the script so well that I can just be easy and relaxed. That's the way I always work.
You pick projects for the part, the director, and the script. I just want to do different, interesting stuff.
I don't work very much, and I just sit here waiting for a script that I can't refuse - and I'm not talking about money.
Televison is time bound. Whereas a movie has time. You can't write a script for television and keep it for one year.
When I was 16, I got 'Jamon, Jamon.' Of course, I had to lie about my age. And I had to lie to my parents about the content of the script.
I think a badly crafted, great idea for a new film with a ton of spelling mistakes is just 100 times better than a well-crafted stale script.
The movie wasn't really derived from Dark Shadows - they developed a whole new script for that particular one.