'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.
There are a lot of considerations that come into play when you craft one of these 'Saw' scripts, and there's only so much you can put into them.
I think I have been stereotyped as an action director in Hollywood, so all I got were the action scripts.
With all the lines I have to learn for TV scripts, I don't think I have any problems with forgetfulness - that's brain exercise enough for me.
My key interest in choosing scripts is character-driven stories, because there are so many stories that sacrifice character for plot.
The stage of Creation is a Timeless Marche. The three measures of Nothing, Possibility, and Chaos will eternally ensure that the script continues on.
For years, I was often afraid to speak up when I didn't fully understand a script. I'd tie myself in knots.
Dave Chappelle asked me to come do his show. I read the script, and I said, 'Has he lost his mind?'
If I've still got my pants on in the second scene, I think they've sent me the wrong script.
Your mind just goes to the craziest idea to lure people into the theater, and then you write your script around those elements.
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.
The way I talk to the puppets is real, and it's in the moment, and it's seeing what will happen. It's not something that is scripted.
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.
When I get a script, it's the only time that I get to be an audience member with the first-time experience of that movie. That's the first and only time.
We had a script that was really solid and we knew how we were going to shoot and how the energy of it was going to go. So it gave us a lot of freedom to use the camera as a character.
Some scripts you read and say, 'I've just got to do this' and you find a way of making it work. Some things you turn down because of the impact on family.
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.
Some people say that they read the first 20 pages, and then decide if they want to do the film or not. But, I have to read the entire thing 'cause anything can change in a script.
I get asked to give stuff to my dad. I'm, like, 'I'm not gonna pass your script to him!' You know? My dad's my dad. I'm not his agent.
In the original draft I was 27 and Peter was 55 in the script. That's not the same as a guy in his 40s and a dad in the end of his 70s. It's a different point in both our lives.
A solid theatrical education can only improve a screen performance. It gives you a fuller capacity to read a script and understand a character, for one thing. It's important to alternate between the two activities.
