Quotes of All Topics . Occasions . Authors
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.
I'll look at the script and I'll try to find as many books, movies, and pieces of music that I think are going to feed each scene or the character as a whole.
Acting's fine if the script's written by Paddy Chayefsky and Martin Scorsese directs it, but unless you have something like that, I don't really enjoy acting.
I'd just love to have an audience and it's the most fun in the world to get a new script every week and have the audience come in, and work with those actors.
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.
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 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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.'
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.
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.
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.
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.
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.
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.
'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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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 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.
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 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.
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.
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.
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.
And of course to work with Jack Nicholson and Diane Keaton, and work with a wonderful, beautiful script directed by Nancy Meyers, it was really for me a dream come true.