I never say never, but I haven't been given the quality of script to compel me to go on television.
I write scripts by myself. It's not for everybody. It's someone's personal work. I need to be in love with the subject.
I am not just sitting and reading everything because honestly sometimes the scripts that appeal to me are projects that are not good projects, but I just really like the script or the characters.
I love the gangster genre, but how many gangster movies are there? If I get a good gangster movie script, I'll do it.
I tend not to read the size of the production into a script when I'm reading it. It's just something you respond to or not and I do think it's very dangerous to say it's time now to do this or it's time now to do that.
I'm not a big fan of training, at all. I really don't like it. I've done a few acting classes and I've just hated them. I think they train you to do something, and sometimes you might not be able to break out of it. Acting is lying, and lying is acting. So, I just prefer to read the script and do it my own way.
Mine is studying script and being very academic and trying to be important.
Even the busboys at the restaurants have a script to give you. Everybody is in the business.
Today it has been estimated that the average 70 year old has four chronic conditions and consumes an average of 35 PBS scripts per year for those conditions.
Sometimes I dream that I'm working; that's awful. When you awaken after a big, surprising dream, you feel it's very interesting. When you sit and write it down, you realize it's a very poor script. But I may find ideas while dozing.
In Australia, they set up a special fund to kick films off. It was quite an enlightened sort of move. You could go to this government bureau with scripts and and get finance for films.
I was always writing scripts, and I had made several shorts, before and after film school. But I worked a variety of temp positions over the years.
My study is a converted garage which is largely lined with bookshelves and cardboard boxes filled with manuscripts of my film scripts, plays and books.
I think for me, when I'm looking at a script I really try to consider what experience am I embarking upon, because for me it's really about the experience.
I don't think there's anything that I would really baulk at doing on-screen. I don't think so. I've got certain pet peeves about writing... my pet peeve about reading scripts is when they give you a line reading and there'll be a line but next to your character's name it'll say 'very angry'. But I'm like: "Well, I'll decide that actually!" So, there's little things like that. That's a slight pet peeve.
For the most part I pick movies based on the merit of the script, and the merit of the script only.
In fact you can begin to discover and investigate whether you are an actor or not, whether you're in my view, qualified for a life in this profession or in this endeavor by checking yourself out and acting every day, getting plays and scripts and getting together with people and divvying up the parts and acting in one way or another, or writing things.
Definitely the script because you want to be part of an interesting story, you want your character to be a challenge, then comes the director. But essentially it's the script first and whether it's a character that you think you can do.
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.
I simply asked if I could have a go at adapting a screenplay. But I did not want any money, in case I failed because I did not want a script out there with my name on it that might be completely dysfunctional.
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.
When I wrote Chuky script, I was a student at UCLA, an undergraduate and my biggest aspiration for it was that I would get my foot in a door somewhere, that I would get an agent or something and it was just beyond my wildest dreams that this big-time producer, David Kirschner.
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.
I'm a great fan of Michael Mann and when he asked to see me I couldn't believe it. I was very happy. I met him and I read this beautiful script. I didn't know anything about Dillinger. I fell in love with the movie and Michael Mann.
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.
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