Quotes of All Topics . Occasions . Authors
I never practice before, I never work hours on a script. I just choose my characters and trust them, and after that, it's about the director taking your hand.
Getting movies made is not as difficult as people think. Making movies is easy. You get a script, you get a director, you raise the money, you make the movie.
Normally when I'm sent a script I'll read it through to see how it hangs as a story and then I'll go back and read it through again and look at the character.
On Disney, we stick to the script. But you go to the 'Grown Ups set' and it's completely different. Same thing with Tyler Perry - it's nothing but ad-libbing.
It was pretty much the way that it was when I first read it, although one exception would be that some ideas that I had were also incorporated into the script.
I want to take roles that challenge me and I want to like the script and obviously feel connected with the director because the director to me is so important.
I find it easier to play someone who is so far from me because you create someone - you build this person based on the story and the script, with the director.
There's a certain arrogance to an actor who will look at a script and feel like, because the words are simple, maybe they can paraphrase it and make it better.
When I was working on 'Deadwood', it was understood that the script was a work in progress, and when we got to set, everyone would kind of work on it together.
My Brilliant Career was beautifully directed, but I had a bit of trouble with myself in it. It was a silly script, based on a book this 16-year-old girl wrote.
I love 'Safe Men.' Now it's getting all this culty kind of - it just came out on DVD. That was awesome. I read that script, I never laughed so hard in my life.
Comedy completely depends on the script and the type of dialogues we get. Comedy is dependent on time and so I will say comedy is tougher than being a villain.
It just gets frustrating playing the girlfriend, It's just this awful feeling, sitting in your house, waiting for a script to come. I like to be more proactive.
It wasn't the greatest script in the world, but not many people can say they've played a wicked king in a swashbuckling Arthurian special-effects monster movie.
I read every script from beginning to end, and I read every draft that I can. I like the show, I like the character, and I want to protect both of those things.
You live for those really great scenes where you almost feel that the film has gone beyond what was printed on the script pages and been raised to another level.
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.
The first script I got was Narc and I really responded to it; it reminded me of a '70s type movie, I really liked the characters, I didn't anticipate the ending.
When I do a novel, I don't really use the script, I use the book; when I did Apocalypse Now, I used Heart of Darkness. Novels usually have so much rich material.
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.
Sometimes you do feel a script that glows in your hand the moment you start reading it. By page four of Shakespeare in Love, I said, 'I have to be in this movie.'
Yes, I am aware that I have become a caricature. I've thought about this. Conceptually, what I'd like to do is the equivalent of writing myself out of the script.
Knowing that Gene and Morgan were playing those roles made it much easier to put the script together-we knew who we were writing it for. It took some mystery away.
I have a very good memory for scripts. I can watch a show I like once, then remember about 90% of the script. But ask me who was in it, and I wouldn't have a clue.
I read the script and try not to bring anything personal into it. I make notes, talk to the director and we decide what kinds of shades should be in the character.
This basic thing I always do: 'What happened between the character's birth, and page one of the script?' Anything that's not in the story, I'll fill in the blanks.
'EastEnders' keeps me so busy - that is where I'm at and I can't see that changing too soon. There's nothing that has quite got the punch of an 'EastEnders' script.
Well, obviously I was excited by the idea that Woody Allen was going to direct it. But at the same time, the script itself and the character was really interesting.
To ask a pratfall comedian, a dishes-in-the-face comic like me, to lay back and bring none of that stuff to the script because it doesn't call for it? That's tough.
To try and stand outside the marriage, I'd say we have complementary capabilities. I do the hustling and the business. I do more script reading. I handle contracts.
Being asked to memorise a script in one day when you have dyslexia is the same as having a broken foot and being asked to dance. You have to make exceptions for it.
Sometimes a script comes along that really makes you sit up and pay attention... 'Life at These Speeds' has an emotional intensity that really kicked me in the guts.
In the original script, my character was a basketball player rather than a boxer. I didn't think I could pull that off. I'm a little short to be a basketball player!
I want to work with great directors. I've picked films based on the script or the character and seen them collapse because the directors were not strong visionaries.
Actually, it was first a movie called Gale Force, which was a hurricane movie. That script never came together, and then the same deal was replaced with Cliffhanger.
Man, I had a good time working on 'Grown Ups 2.' First of all, when I read the script, it is hands-down the funniest script I've ever read. It's laugh-out-loud funny.
It's not that we go around the set thinking, 'Oh, today we are going to kiss, so let's enjoy'. It's not that. It's acting. If it's important for the script, so be it.
I'd love to see a good script of one of my books, in these years of animations and comic book sequels, and had so many written over the years, but none quite clicked.
I knew her work very well and I knew that if she offered me a role in her movie, it wouldn't be something stupid. So I agreed to do the film before I read the script.
Sometimes you have a period piece where you have to research around it but, if the writers have done their homework well enough, the information is all in the script.
Composers today get a TV script on Friday and have to record on Tuesday. It's just dreadful to impose on gifted talent and expect decent music under these conditions.
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.
Many people, including me, thought it was too early for me to play a father to two grown-up daughters, but I found the script of 'Dangal' irresistible. I had to do it!
I can connect with whoever I want to connect with in the world. And I can also write my own script. I don't have to follow rules. I can sort of just be unconventional.
Tony Hale is a devout Christian and is a complete retard when it comes to swearing. The script called for him to swear for about 30 seconds and he just couldn't do it.
I felt alive when I read a script and acted out a scene, or sang a song. It was my dream. I'm just very lucky that I'm still doing it and able to earn a living from it.
All my characters have their own political thoughts of the world around. If it is not in the script, I put it into them so that they become rooted to the local flavour.
I love the script and I just thought it was a great role. Like I say, it's like this - the script is like this sad, funny, desperate love song to the lost American man.
Hopefully, as I get older in the business, I make my choices more accurately, and I perhaps know from either the script or the first meeting that it isn't going to work.
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.