It's very rare to get a film script that has good dialogue. A lot of the time, you spend on film sets really fighting to find out how to say the words.
Something like Shakespeare in Love, which became such an established hit that it now seems like a foregone conclusion... but it really wasn't. The script was around for a very, very long time and had people chickening out all the time.
There are clues in the script... he will say "I think drugs are immoral"'... but the guy who says that kills, tortures, pimps and has whores working for him. There is this strange morality going on, which is rather like the Mafia.
In so many roles I've played the outsider. As an outsider, you have more energy to succeed simply because you are an outsider. There are scripts floating around but they're not coming my way and I think that I am getting a little bit too old to play Napoleon. But if I was ever offered the role I would grab it.
My mom is a script supervisor. It's like the family business. It never had that feeling of entertainment. It was always more like, "Eh, it's just a movie," with that crew mentality, which is, "We've done it before and we can do it again."
I want a script to affect me in some way. I am usually drawn to character studies, scripts about real people and the world we live in not some fantasy.
You liked the freshness of it, c'mon try it" and I said "oh God, I read it three of four times" and finally I said "all right, I want you guys to organize a reading and I want you to be there to see how terrible this is not going to work at all", so we had a table like this, and read the script, and it was just great.
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.
When you try to be true to the script, changes occur. A script is there to show us a certain direction. But when you actually have the actors in and you start shooting the movie, you have the actor say a line and it doesn't sound right so you change it and make it different. It's the script that gives birth to these changes and the more you try to stay true to the script, the more that happens.
Just play the moment, that's the fun of it. You just play the moment. It's great writing and very clever writing, I think it's witty. And I have those great clothes. You have a great, witty, intelligent script and you look like a million dollars, because we have a great costumer, and it's a pretty good place to begin.
There are certain things that I will do viscerally to affect people emotionally, with speed changes and sound, and various other things. Sure there are links; the same kind of sensibilities went into it and I worked on writing that script as well so there was an emphasis on a minimalisation of dialogue as far as possible, to focus on the visual and to put it in another language, of course.
I've done films where you have to get in shape for purely vanity reasons, when you read a script, turn to page 87 and it says: "Rips his shirt off and casually throws it onto chair" - and you're going to go to the gym the next day because nobody wants to see your big fat arse out there taking your shirt off!
You stick to the script, the script is Bible.
Inspired music arises from an inspired movie which arises from an inspired script.
What is the right time [to discuss theology]? Whenever we are free from the mire and noise without, and our commanding faculty is not confused by illusory, wandering images, leading us, as it were, to mix fine script with ugly scrawling, or sweet-smelling scent with slime. We need actually 'to be still' (Ps. 46:10) in order to know God, and when we receive the opportunity, 'to judge uprightly' (Ps. 75:2) in theology.
When what's around you - such as scripts, or like me being on the show and playing 18, now me doing this film playing 18 - it's kind of been what's been there for me.
The root of any film project for me is this inner need to express something. What nurtures this root and makes it grow into a tree is the script. What makes the tree bear flowers and fruit is the directing.
A director should cast a person who fits into their script.
The Lord Chamberlin was censoring scripts when I first came into the theater.
I'm not staying away from any genre. I'm trying to get scripts that I like.
If the script grabs me and appeals to me, I'm really very keen to work on it.
Being on TV sucks. It's a lot of work. You memorize scripts and then you show up and they change everything. I'm a control freak. When I'm doing stand-up, I say what I want and then I get instant feedback.
I practice reading all the time. I read everything and having so many scripts to read, which really helps out as well.
I look for a director with a script he likes a lot, but I'm probably after the directors more than anything.
Before I moved into the mainstream of American movies, I wrote a script as an experiment. I wanted to get very far away from the clichés about the three-act play - structure, development.
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