I love TV, don't get me wrong. But with film, you're just banging out this one product and you're not waiting on another script. You have your script. It's great, in that way.
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.
To make the script, you need ideas, and for me a lot of times, a final script is made up of many fragments of ideas that came at different times.
In television you don't have a lot of time to spend with the role or the script. Typically you get a script a week prior to shooting. Sometimes it's even less time, not enough time to dream about the role.
I just trust the director and never overanalyse the script, screenplay, etc. You are just taking a bet at the end of the day, so confidence, be it on the filmmaker or the script, is all that counts.
Well, first of all, you read the script a million times. Because what the script gives you are given circumstances. Given circumstances are all the facts of your character.
Sometimes, in the ancient writing samples found in the Indian subcontinent, we find that a mixture of Harappan and Brahmi features has been used. This definitely points towards a continuous evolutionary process that transformed the Harappan script in...
Eighth Doctor: I love humans. Always seeing patterns in things that aren’t there.
When you look for beauty, you usually end up finding it. From Central Park Song (A Screenplay)
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.
The hardest thing about writing a script is you finish it, but it doesn't mean anything. It's not like a novel or short story - a script is meant to be made into a movie.
If I feel like it's a well-written script and if it speaks to me, it's something I want to do. I usually rely on my instincts when it comes to a 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.
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.
Eating together is the most intimate form of kinship. By scripting a work where we share the same kind of food with fish, I'm scripting our interrelationship with them.
When I read the script, I liked the script very much and I thought it was a marvelous part for her, because I think it is a change of pace. I mean, we know how wonderful she is in romantic comedy.
I'd rather say no and have said no and do say no often. I walk away from projects if it doesn't feel right; if it's not the right team of people pulling in together or if the script isn't right. It could be a great idea but the script doesn't work.
It could be a great script but the director is not the right person for me to work for at this time. So there are a lot of elements that come into play and a lot of variables, but more than anything it's got to be a great script and a great character...
I love TV, don't get me wrong. But with film, you're just banging out this one product, and you're not waiting on another script. You have your script. It's great in that way. It's as close to theater as you can get.
Writing is getting killed by too many chefs. Back in the Bogart days, it started with great scripts. You had a writer, and he wrote a script, and that was your movie. I think that's been watered down a bit lately.
Once I started selling scripts for a great deal of money - action scripts, no less, which people tend to pooh-pooh anyway - then I started to get some backlash. Which I didn't mind.
