What Tim does is, he calls me and sends me the script. And then he sends me a drawing, an illustration of his image of me as the character. It's so great.
You can have a great character in a really bad script, and the film will never be seen. It's just too much work to commit to a film and not have it released.
A lot of times you have to dip into the independent world to find the really great projects and the really great scripts. They're out there - you just have to search hard.
Girls in scripts are often pretty but brainless, or geeky and no one likes them, so it's great to find richer roles. Chalk and cheese aspects of people are very interesting to play.
I still read scripts, and if something great comes along, that's great... but this is my day job. The Row is where I go every day.
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 one good thing is that I get a lot more good scripts coming through my letterbox. 'Vera Drake' raised my profile in one way, and then 'Harry Potter' in another.
A good project but a poor director will always make a mediocre film, but an average script and good director can make a good film, as he will put in everything to make the film look good.
I'd love to work in the States; I'd love to work anywhere where you get a good script and a good part to play. But I do love British film as well.
I read an interview with Mark Wahlberg, and he was like, 'I might read a script and love it, but it's all about the filmmaker.' I think that's a good lesson for me.
You do small movies because the script is good and because you believe in the director. You don't care about the money. And when they disappear, it's a pity.
I'd read a lot of scripts, and I remember reading 'Orange Is the New Black,' and it was at the head of the pack. I remember thinking, 'Wow, that is really good. I would love to be a part of that.'
I'm probably not very funny. The scripts just don't come in, or the ones that do aren't that good. I suppose I'm just an old drama queen, really.
As a jobbing actor, I never get a script and go 'I can't be bothered with this.' Life doesn't work like that. For a movie star, maybe, but for a jobbing actor, that doesn't happen.
I enjoy co-directing or even being there just for support because you get to see your script come to aural life in front of you.
I get sent a lot of scripts which feature him as a kind of all-purpose Victorian literary character and really understand little, if anything, about him, his life or his books.
I remember reading the script for 'Dangerous Liaisons' and thinking that I could quite happily spend the rest of my life watching this film; the story and the writing were so wonderful.
I would love to produce a film. I have written a script and am in the process of writing another, so maybe it will happen down the road. I would love to do a film in Africa.
I'm not really that keen on mainstream; I'm not interested in doing the normal films. I do tend to go for the quirky, different scripts.
I don't really get into a big intellectual analysis of why I am going to do a certain script or not.
I won't be able to do what I'm doing forever. There aren't that many scripts floating around for fifty-year-old chicks.
