You don't read many scripts, especially for crime dramas, that feature a strong woman as the central character.
A script is utterly useless in and of itself; it's only of any worth the minute your actors, your designers, your directors come into being.
I was not the kind of a principal player that was so in demand that eight or 10 or 12 scripts came per month.
I have written a bunch of scripts that have not gotten produced, much more so early in my career than later.
I don't read much fiction because I already read a lot of scripts, so I want to learn about the world.
Females want other females to be really strong, so there are a whole lot of scripts that are basically just male parts renamed as a girl.
When the script for 'Once' came my way, I had the thought that maybe it will last only a season. But I was willing to take that risk.
I think every script I read has something that sends me into a state of panic but that usually makes me want to do it.
I have this group of friends that I'll send my scripts to before I send them to a large audience.
Whenever I'm offered something, I always read the script and meet the director. I still appreciate just being considered.
I've sold scripts in the past, and also a TV pilot that didn't get made, to Fox. But yeah, I've been writing for a while.
Sometimes you're reading something, and you don't know it will be important in your life. You're reading this script, and you start to get involved. It's not an intellectual experience.
I do think the first time you read a script, that gut response is very important, and that probably plants a seed that continues to blossom throughout the whole experience.
No. I didn't look at the last few scripts. I didn't want to read them because I'm a 'Breaking Bad' fan. I wanted to experience it with everyone.
I watch a lot of TV - 'Perfect Strangers,' 'Family Matters,' 'Who's the Boss?' - then I go over my notes in the script, lock it into my head and go to bed.
I know a lot of people in the business recommend the many Story Structure seminars being offered here, but I point to them as the single biggest contributor to lousy scripts.
Shooting in Hong Kong, you can do whatever you want, even change the script every day. In Hollywood, you have to have a lot of meetings.
When the children were little, I'd fly into L.A. for a specific work project, but then I'd leave again, and when I was home, I wouldn't even read a script.
There's not a huge pile of scripts at home. It's what happens to be on the table at that moment with your availability. And then you have no control over when these things come out.
I read the script and decide if a particular character looks fun to play. I look for complexity and a sense of humor. Those are crucial, real things to life.
You hate to see yourself do one draft of a script and then have somebody else come back in and change what you've done.
