Each of our collections is like a movie. We write the script, and this Sicilian woman who has traveled around the world plays the lead role.
I think a playwright realizes after he finishes working on the script that this is only the beginning. What will happen when it moves into three dimensions?
I read the script and try not to bring anything personal into it. I make notes, talk to the director and we decide what kinds of shades should be in the character.
If you get a book which is 600 pages, you have to reduce it to a script of 100 pages. In two hours of film, you cannot possibly include all the characters.
More of 'The Bourne Identity's script was taken from the events of the Iran Contra, which my father investigated for the Senate, than what was taken from Robert Ludlum's novel.
They're pretty particular about what they show. They certainly edit the scripts and have conversations with the writers about what they are and aren't willing to portray. But the writers and the network are pretty much on the same page.
My Brilliant Career was beautifully directed, but I had a bit of trouble with myself in it. It was a silly script, based on a book this 16-year-old girl wrote.
A lot of our favorite comedies in general are usually directed by writers, whether or not they wrote the original script themselves.
I was a little bit wary of playing Nicholas. In the script, which I think is true of the novel and the film, he's the only character not singing and dancing in a musical style. Playing someone who is the personification of good is a little difficult.
You learn, even at 'S.N.L.,' that the funniest scripts a lot of the time were written with the actor, because they know what makes people laugh. It's always going to be better if they own it.
Because I used to go and watch him rehearsing for pantomime, and I have adopted some of those priciples, like try to be on time, learn your script, how he approach it, etc.
It took 17 years to get 'Rambling Rose' made from the time Calder Willingham wrote the script adapted from his novel. Ed Scherick, the producer, was interested in it. Martha Coolidge was interested in directing it.
I didn't write 'Snow White' for any class, but I got bitten by the screenwriting bug and wrote a couple of scripts in my spare time instead of going to keg parties or something.
I didn't want to do 'Casino Royale' when they told me to audition. I said no. Then they sent me the script, and I thought it was actually very interesting - and I had no other work at the time.
When you're writing a story in bits and pieces, month in and month out, there really isn't time or space for reflection, no room to learn what those scripts had to teach you.
I do get a fair amount of scripts; I got 'Frozen River' kinda just that way. I have a hard time turning my back on anybody who says they have something for me.
People don't understand how much time and work it takes to make somebody laugh, and how hard it is to write a script, to put together the story, the characters. When everyone laughs simultaneously, there's no greater feeling.
Any time that we read a script and the 'Leverage' team has to infiltrate a place, assume identities, or become con artists ourselves to take down the really bad con artists, it's always fun to do that.
I never practice before, I never work hours on a script. I just choose my characters and trust them, and after that, it's about the director taking your hand.
I left 'Dr Who' after 18 months, as my character was going nowhere. In truth, I wished I had never gone into it. Afterwards, all the scripts that came my way were for 15-year olds.
Carl Van Loon: Your powers are a gift from God or whoever the hell wrote your life script.
