It's funny. When I saw the script in my inbox and it said 'Sparkle,' I thought, 'For real? It's really called 'Sparkle?' I was wondering, too, how does 'Jordin Sparks as Sparkle' sound?
I've been blessed with some lovely scripts and a character that people could truly identify with. It's one of those surprises in life that makes you think, 'God was smiling on me that particular day.
Whatever happens in my life from now on, I know the day I finally die - the final act of my script - people will always make references to the work I've done with Almodovar.
When you're playing a real person, there's a balance between playing the person in the script and playing the person as he was in life. You have to be respectful and true to who that person was, but at the same time tell the story in the film.
The script, I always believe, is the foundation of everything. And if you don't connect to that foundation, if you don't believe in that and feel that you wanna spend three, four months of your life exploring it, then all of the other elements are se...
I really believe that when you're playing a character that everything is contained in the script. If I'm pulling from things from my own life, then I think I'm being disingenuous to the character and the story.
I hate going to bed. I read scripts, clean, listen to the radio - I've fallen asleep to 'This American Life' more times than I can count!
My brother is my go-to with scripts, especially when we're talking genre pieces, because I want to make sure that it's legit. I can love it, but then I pass stuff on to him.
I would love to direct a western. I love taking photographs and I'm always fascinated with angles. Also, my father was a film editor, and I have a talent for thinking of things that aren't always in a script.
I'm lucky enough that financially I don't have to feel obliged to go for the bigger stuff. I like the stories and scripts to dictate if I want to do them.
I think, because I've been working for a while, I've been working since I was ten, I had the fortune of reading a lot, a lot of scripts.
I had the advantage of reading the book, and when the script was first submitted to me, it was just another gangster story - the east side taking over the west side and all that.
My manager sent me the first two scripts for 'True Detective,' and I just thought they were so interesting and that the world they were depicting was so titillating to me.
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.
For me, I've always been one that reads a script and has been ready, wiling and able to go out and fight for parts.
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.
Normally when I'm sent a script I'll read it through to see how it hangs as a story and then I'll go back and read it through again and look at the character.
Well, obviously, as soon as I'd finished the script I read a lot of books on Winston Churchill, and started to gain weight and really prepare emotionally, mentally and physically for the role.
Every script has things that would draw me away or draw me towards it. But I just try and choose as wisely as possible - when I get to choose.
Even before my audition, there were several pages missing from my script because those bits were so unbelievably secret not even I was allowed to see them.
I really believe the form of the film must be in the scenario; cinema is not just added value to the scripting. I believe in it as a totality.
