I've learnt that I've had the best results from just trying to be me, trying to make a movie or TV show I want to see or write a script I want to read, and that's really all I can offer - being authentic.
I mean, the first 'Back to the Future' is kind of a perfect script, I think, in terms of handling time travel the best. It depends on your definition. To me, that means it effectively uses it in the story.
The script was just the best I'd read in a long time and I love the humor, which I wasn't expecting, and I like the fact that my six year old daughter can see the show without being, you know, protected from it.
You can't do things for money. You just can't act them. There's gotta be something about the script that you really want to do. I wouldn't do a job if I didn't think I could do the best work I possibly could.
I'd always wanted to be an action heroine. That's a chick dream, getting to wear a leather bodysuit and be blonde and kick ass. But, what really attracted me to 'Dredd' was the script. It was fantastic! It was about people and characters, and not jus...
I'm never certain of a performance - my own or the other actors' - or the script or anything... But to me it seems there's only one place in the world the camera can be, and the decision usually comes immediately.
Me and Johnny Rotten have been talking about doing a movie of his book, No Irish, No Dogs, No Blacks. We have a script, so hopefully that's going to happen at some point in our careers.
Bush is a very poor impromptu speaker. He does fine in small groups but when speaking without a script in front of large groups or answering questions he wasn't prepped for, he has problems.
I did all my directing when I wrote the screenplay. It was probably harder for a regular director. He probably had to read the script the night before shooting started.
I created the characters from what I read in the script. I decided how I should talk, accent, no accent, my own voice, or a created voice. Then, I visualize what I should look like.
With any mannerisms or dialogue, you have to be careful you're not just serving yourself. What happens with improving is a lot of times, if you're not in the framework of the script, you're just making everything easier so it fits you.
Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it's all fitted to the action, to the script, to the characters.
Lots of shows are written completely in the writer's room. And I wouldn't say 'The Walking Dead' is that way. There are three levels to it. There's us in the room. The writers going off by themselves. And me working with the writers on a finished scr...
Different directors have different things, so when I left Mike Leigh, as it were, and I went into other projects after 'All or Nothing,' it took some getting used to - what do you mean there's a script?!?' That kind of thing.
So you have to keep waiting and then they give you the script and it's terrible. Then you have to go to the rewrite and they're very upset because you didn't like it. I went through that for seven years.
I don't really say, 'Is this script Catholic or not?'. But if I find it to be immoral, or it doesn't sit right with me, which happens a lot these days because there's a lot of garbage being written... I'm like, 'I'm not doing this.'
What happens is things come to you - director, script - and if you respond to it, it's because it's tapping into some part of what's inside you, and different roles tap into different parts.
When I read a script or I see a character, I don't necessarily see the arc of her, that by the end she is this person, she's different from she was in the beginning. I guess it's more a subconscious understanding of that arc.
And I'm auditioning right now for a movie, and then I have a script that I'm reading right now for a horror film, and I'm meeting for a couple of television shows that I just had yesterday, and pretty much was offered one of them.
I was studying my 'Bold and Beautiful' script the other day, lying in a hammock, when one of my Siberian tigers walked up and grabbed it out of my hand - she wanted to play. See - teeth marks!
When I was working on 'Big Fan,' I didn't really feel like any lines needed to be changed or enhanced or expanded upon in any way. I thought it was a solid script. All you had to do was what it said.
